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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.
There’s a way it could be viewed as a self-inoculation against the whiteness of Mike’s crew and these movies, in general. It speaks, instead, to the risk this movie is taking in suggesting this world is more vast, hotter, and far more lucrative than we could have imagined. The choreography is a mix of confidence, melodrama, and the kind of erotic origami found in some street dancing.
I was too knocked out to clock this scene’s duration, but it’s not short. The lighting, in blues and reds, doesn’t obscure the variety of black and brown skin. And the energy keeps shifting from wild to weird to whatever Donald Glover does after the camera pans up to find him standing at the top of a staircase wearing a porkpie hat and blazer over a bare chest.
Three years later, he reenters, newly single, lured back by the vocation’s moan.
Rome, who calls him a ghost (maybe because he’s white, maybe because he left), wants to show him what she’s built since he split.The big deal about the first movie had to do with the droves of women who jammed into theaters to see something seemingly meant to please them.It was a comedy about men who take their clothes off for money.This time the movie hits hard the song’s robotized exhortation that staggers in the backbeat: “Yeah. Oh yeah.” He’d already been tricked into partying with the old gang, who tell him they’re on their way to that convention. But in Mike’s shop, the cosmos forces him to reconsider.
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?