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It’s consciously doing something more sophisticated — well, sophisticated for something starring and made by men that’s opening on thousands of screens for July 4th weekend; a deft touch plus charm, aggression, scowling, grinning, danger, safety, and risk equals fireworks, too. The secret weapon of (one of them) is Smith’s wife, Jada Pinkett Smith, who, as owner and emcee of her own pleasure parlor, addresses throngs of thrill-seeking women as “queens” in a way that snatches the word back from gay culture. What that idea is changes from environment to environment and from female to female.
That song comes on, and he proceeds, almost involuntarily, to glide and grind his way around, into, and against the tables, beams, and equipment. Soon Mike is back with Tito (Adam Rodriguez), Tarzan (Kevin Nash), Richie (Joe Manganiello), and Ken (Matt Bomer).Instead, the road trip lands the gang at private events and people’s homes. What if, in addition to baring their asses, they also bared their souls?They’re making house calls, and the intimacy of the settings compounds the fantasy, personalizes it. The change is a brilliant shift in prerogative from the first movie, which was a druggy and jokey, slightly overwritten romantic comedy between Mike and a beachy but practical chick (Cody Horn); between artists and money (on either side of the camera); and among the dancers themselves.All he does is sing to a recent divorcée, but you can feel the women around her — and the people around you — melting, too.It’s true that Rome and some of her men — including Stephen “t Witch” Boss, who, for the finale, becomes the group’s sixth performer — are helping these mostly white guys find their souls. For the men in Mike’s crew, Domina is another revelation on a trip full of them. As fun as it was in the original movie, it felt bogus: gay-revue iconography (real Village People type of stuff) repurposed for female entertainment. grants the trade profundity and a kind of wisdom that begins at Domina’s and continues with Glover’s character later imparting to Ken a deep thought about what he, and by extension all men who dance, get out of the job: women’s pleasure. But in the first movie, it was as though the men of Mc Conaughey’s Xquisite club thought that a kind of gayness was a safe route to a straight woman’s rhapsody: to be a little draggy. This time, the joke with Richie is that he can’t find a woman who can handle his generous anatomical endowment.