There comes a time when people ask, “Is this art or is this porn?” Depending on who you are talking to the answer can change and the definitions change. Art is about making you think and feel something and porn is supposed to be about pandering to you, but isn’t that just another way form of artistic engagement? Magic Mike XXL, the sequel to Steven Soderbergh’s (Traffic, Erin Brokovich, Ocean’s Eleven) underrated drama Magic Mike is probably the biggest mainstream film to argue such a case. The original film used the indulgent setup of the world of male “adult-entertainers” (strippers) for a downbeat fall-from-grace versus re-invention saga. Magic Mike XXL, on the other hand is a straight-up road comedy that’s far less concerned with the surely-true seediness that grips the adult entertainment industry, and instead focuses on the most constructive side of what “male entertainers” and the like offer. In switching genres and the mission statement, the film becomes a surprisingly layered spectacle that is at once pure unadulterated indulgence (for the crowd who loves physically gifted half-naked men showing off), and at the same time a nuanced look right into the heart of woman-loving sex positivity. All the while the movie still functions as a rather earnest and frank portrait of male friendship in a way that Entourage forgot how to do rather quickly. We live in a world where “bros before hos” is antiquated at best and “#NotAllMen” is a thing, Magic Mike XXL dares to boldly position a present or future where us guys can still be guys (frat humor, party shenanigans, obsessed w/ food, sports and picking up chicks/getting laid etc) while still treating everybody with pure and sincere kindness and respect. It’s a smart “bro comedy” designed to be a safe space for the titillation of its intended audience (primarily women).
American computer-animation studio giant Pixar has returned to form with another entry to the pantheon of great coming of age films. Inside Out is a film about the dawn of maturity. Most of the movie takes place in small moments in early adolescence. I would even go so far to say that Inside Out does that “small moments that define us” better than Richard Linklater’s Boyhood. Inside Out is much clearer about how the things that make us erupt out of childhood and into the world of adolescence come. It’s clever enough to know that what makes us grow up is coming to terms with the complexity of our memories and experiences. This is Pixar’s most clever movie since both the Toy Story trilogy wrapped and Ratatouille.