Regie:
Steven SoderberghDrehbuch:
Reid CarolinKamera:
Steven SoderberghBesetzung:
Channing Tatum, Matthew McConaughey, Alex Pettyfer, Matt Bomer, Joe Manganiello, Olivia Munn, Betsy Brandt, Mircea Monroe, Riley Keough, Adam Rodriguez (mehr)Streaming (4)
Inhalte(1)
Schnelle Autos, ein luxuriöses Apartment und verfolgt von einer ganzen Schar hübscher Frauen - kein Wunder, dass der 19-jährige Adam (Alex Pettyfer) von Mike (Channing Tatum) ziemlich beeindruckt ist. Dessen Erfolgsgeheimnis ist schnell gelüftet: Als erfolgreicher Stripper verdient er sich als Magic Mike im „Xquisite", dem heißesten Club von Tampa, eine goldene Nase. Mike nimmt den unerfahrenen Adam unter seine Fittiche und lehrt ihn als The Kid die besten Dancemoves, die Kunst der Verführung auf der Bühne und die Kunst, sich auch hinter der Bühne durchzusetzen, unter anderem gegen den berühmt-berüchtigten Clubbesitzer Dallas(Matthew McConaughey). Doch auch Mike profitiert von seinem Zögling, als er dessen Schwester Brooke (Cody Horn) kennenlernt und sich prompt in sie verliebt. Während Adam schnell dazulernt und sich immer mehr für sein Leben als Stripper begeistert, erwägt Mike seinen Rückzug... (Concorde Filmverleih)
(mehr)Kritiken (11)
I have never attended a strip show and if I were invited, I would decline. I consider it in the same category as wrestling or beauty pageants, which means a vulgar show. And from that perspective, it also affects my evaluation of Soderbergh's film, which I otherwise consider a demonstration of very decent filmmaking. However, I have a problem with the fact that the director made a pleasant, cultured, and romantic film from an environment that in no way is pleasant, cultured, or romantic. In short, it glosses over and moves it to a different level than the world of strippers or their consumers deserve. The British film The Full Monty took a different approach and wanted to communicate and sell something completely different to the viewers, and with that film, I was on the same wavelength. Overall impression: 45%.
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Channing Tatum produzierte einen "unabhängigen Beziehungsfilm“, der ihn erwachsener gezeigt hat. Zivile Antipapier-Dialoge, manchmal sogar so sehr, dass ihnen einige Gags eher helfen als schaden würden. Zwei fantastische Filmemacher-Momente – das Kameraspiel in der Anfangsszene (zwei Mädchen in Tatums Bett) und die Szene mit dem Schnitt aus dem Handy (das Wählen der Nummer vom Mädchen), wo das Paar schon im Bett liegt und sich umarmt. Aber sonst ist es eine langweilige Angelegenheit mit einer faden Schauspielleistung der Hauptfigur, die den Film über Wasser halten sollte.
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Steven Soderbergh hat (erneut) ein ziemlich solides Gleichgewicht zwischen sozialer Aussage und kommerzieller Komödie gefunden, in der er den eRk-Wert gut nutzt. Interessant ist, dass wenn man alle diese kommerziellen Verlockungen, gelungene Choreografien von Tänzen und sehr einfallsreiche visuelle Spielereien mit der Kamera komplett abzieht (kein Wortspiel beabsichtigt), bleibt ein Gerüst eines völlig funktionierenden Dramas basierend auf gut gezeichneten Charakteren übrig. Trocken humorvolles britisches Ganz oder gar nicht wird in dieser Hinsicht immer meinem Herzen näher sein, aber auch Magic Mike kann ich mit gutem Gewissen empfehlen.
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Magic Mike wird hier als Drama und als Komödie definiert, aber er erfüllt keines der beiden Genres gut genug, um mich mit dem Gesamtergebnis zufrieden zu stellen. Was den Humor betrifft, so hat mich wohl die Szene mit Channing Tatum à la Marilyn Monroe am meisten amüsiert, ansonsten waren die restlichen Szenen eher leicht witzig, aber es gab nicht viele davon. Die ernste Linie des Films hat auch nicht funktioniert, oder vielleicht bin ich zu anspruchsvoll, aber ich habe etwas Tiefgründiges erwartet (in Anbetracht des Themas). Kurzum, ein Film, der vor allem Damen/Herren gefallen wird, die gerne metrosexuelle Männer in Tangas tanzen sehen.
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On the glittering surface, Soderbergh adores the strippers, while on the inside he laughs at their transference of existential experience into beautiful bodies and powerful experiences. Probably. He doesn’t lead us to a single, unambiguous reading of Magic Mike, so it’s not a problem to see it as being akin to Flashdance (and other dance-themed ‘80s hits), given its story about a poor, not very bright guy who whose handsome face and simulation of sexual movements brought him wealth, fame and drugs. In various imaginative ways, however, the film makes it clear that this is not a typical rise-to-stardom story. The appealing striptease performances, pumped up with loud music and lighting effects, contrast with the simplest possible dialogue scenes devoid of music and camera tricks (long shots, a static camera, a lively and occasionally funny mise-en-scéne). The dialogue, which is more important in terms of its content than as means of expression for the characters, was either superbly written and acted or at least partially improvised. The hesitations, pauses, slips of the tongue, shy glances and bashful gestures transport us back from the flawless world of pumped-up penises and fake police uniforms to awkwardly natural reality. Thanks to his previous experience, Channing Tatum clearly knew best how to depict a man whose exhibitionism gives him a false sense of control, but those whom he thinks are under his control (Alex Pettyfer) or whose uncontrollability leads him to confront his own “emptiness” (Cody Horn) are no less authentic. In the most straightforward sense of the word, the star of the evening is Matthew McConaughey, the personification of the word “macho”, who was finally offered a role requiring nothing more than what he has built his entire acting career on – tough-guy talk and an ostentatious exhibition of his abdominal muscles. Bare male bodies appear frequently in the film, in lengthy shots and – with one exception – without liberating cuts to the face of someone who finds such behaviour inappropriate. I would venture to guess that these scenes will seem unnecessary especially to the men in the audience, which may have been a marketing tactic (the ideal film for a girls’ night out), as well as the director’s attack on the male gaze, on the unwritten rule that calls for much more frequently exposing the bodies of women, whose nudity is conversely presented here without any sensationalism. The constant duplicity and endless uncertainty of whose side Soderbergh is on do not in any way disturb the film’s cohesiveness (which is rather disrupted by a few needless camera exhibitions with an image with qualities other than those of sunny California) and create a peculiar tension behind a story that is seemingly so simple and smooth that it could easily slip by less attentive viewers. The excitement that the film provides is not only sensual (regardless of your preferences), but also cinephilic. 80%
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Executed with panache and not even Tatum’s “relaxed” acting style bothered me, but I’m not excited. I anxiously waited for the outcome, but in the end it was meh, even though the pace was intense. Overall it’s good, but Soderbergh is wasted in this kind of ordinary dramas.
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A mission in life to some, survival to others. I get that Channing Tatum wouldn’t agree with me, but I really shouldn’t have watched this. When a bunch of guys shake their bods in front of the screen for two whole hours, you wouldn’t want to see it either. And the array of women who appear in the movie definitely won’t salvage it by their beauty. However, I acknowledge and respect the fact that Channing managed to get himself out of this sort of job. I also acknowledge his and Matt’s great acting performances. But everything else was a miss for me.
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It wasn’t quite as terrible as I had feared; in fact this was a decent romantic comedy. McConaughey clearly feels at home in his role of psycho baddie. And at least we know why Tatum decided to switch from this to acting... he can make some money and then he’ll make bespoke furniture. :)
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Classic Soderbergh, raw like in Traffic and very authentic within the genre, with fascinating sections without music, brilliant off the charts dialogues, and yellowish, depressive camera filters. It is essentially a romantic comedy with some harder scenes, but Soderbergh manages to wrap simplicity into a splendid package. Some sections could be shortened (too tedious and uninteresting for male audiences), but otherwise, it is a quality addition. Brilliant performances, especially by McConaughey and Tatum.
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For me, perhaps an overly hated film. Magic Mike is a classic old-school comedy, simple, but at the same time it manages to put a smile on your lips and even entertain you at times. Ordinary and unremarkable in terms of execution, but certainly original and funny in terms of the premise, led by the likeable Tatum Channing. A fine diversion for an evening.
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Matthew McConaughey for the second time, although this time it's not the main role, but only a supporting role, although he still has quite a lot of space. That's just fine. However, the main attention is focused on Channing Tatum, a guy who has enchanted millions of women. I think it's a great contrast to the skinny, shimmering Pattinson in the sun, who has been trying to convince us lately that he is not just a very bad vampire but also a pretty good actor. Steven Soderbergh directed two films in 2011 that critics evaluate very similarly. These are the films "Contagion" and "Haywire". I must say that "Contagion" is much better and "Haywire" is just a movie that pretends to be more than it actually is. The fact that the main action hero is a woman who beats all the guys is not such a groundbreaking element for me to have to praise the movie. It's the same with the movie "Magic Mike". It's great that Soderbergh tackled a controversial topic that many don't understand, but again, he plays with some glitter that surrounds his name, but in the end, he doesn't deliver what is expected of him. Still, it's better than "Haywire". Male stripping is often art for the protagonists, sometimes work, for the female audience it seems to be a great experience, for many uninvolved people, it's completely incomprehensible performance when many wonder what these women actually see in it when they don't even have the opportunity to play with what remains hidden most of the time. I won't answer that question, I'm not a woman, but I think the environment is captured very well here, even with a scene that shows a little more than a puritan viewer could bear. Well, serves him right. I liked the film, the environment is captured wonderfully, but as soon as we go a little further, it's still just a film about how the cabaret collective doesn't work, how there are divisions, how dreams are not fulfilled, and how love solves everything. Yes, when it comes to the romantic note, I definitely expected a little more from Soderbergh than I got. Maybe it's just because I have a slightly higher opinion of him than he actually deserves. "Magic Mike" rather confirms that he can make quite an impressive spectacle, but that something is missing for perfection. More: http://www.filmovy-denik.cz/2012/11/deja-vu-fred-claus-oko-dravce-penelope.html
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