Tatum has a particular talent for swiveling and thrusting in dances steamier than most sex scenes. In Magic Mike's Last Dance, out Feb. 10, Tatum and Hayek Pinault's characters do wind up in bed together, but whether they consummate the relationship is almost academic. He has already wrapped her legs around him and buried his face in her breasts before they ever undress, a rare moment of physical intimacy in a modern film with a big marketing push.
Movies aren't sexy anymore-or at least the bigbudget movies that studios dedicate resources to are devoid of lust. Comic-book films have come dominate the box office, and in the words of Steven Soderbergh, the director of Last Dance, "nobody's f-cking" in those movies. It's a sentiment he originally shared after being asked why he wasn't interested in helming a superhero movie himself. "You can imagine the reaction to those comments," he says now. But it's true. The era of Michelle Pfeiffer's Catwoman clawing the clothes off Michael Keaton's Batman are gone. Instead we get Captain America, a character whose confounding virginity, given that he's played by sex symbol Chris Evans, has been hotly debated for more than a decade.
Soderbergh specializes in adult dramas. His movies, like Sex, Lies, and Videotape, Out of Sight, and Ocean's Eleven, often exude sexiness, whether or not the characters act on their passions. "We liked the idea of making a sexy movie where there's essentially no nudity," he says of Last Dance.
Denne historien er fra February 13 - 20, 2023 (Double Issue)-utgaven av Time.
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Denne historien er fra February 13 - 20, 2023 (Double Issue)-utgaven av Time.
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Kate Winslet Puts Lee Miller in the Frame - Kate Winslet loves tables. She loves them so much that the Oscar-winning actor collects them.
Kate Winslet loves tables. She loves them so much that the Oscar-winning actor collects them. There is nothing fancy about these antiques, but they enchant her. "It's the knots and the whorls, the shape and feel," she says. "They can feel like old friends, and there is something emotionally charging about an old table that comes with a history-I find imagining what that might be enormous fun."
Alfonso Cuarón Goes Long - The Oscar-winning filmmaker finds pathos in our lonely present in his first TV miniseries
A perceptive, generous-spirited child draws on her imagination when she's subjected to the cruelty of a boarding-school headmistress. A lone astronaut, cradled in a damaged space capsule and having lost any hope of returning to Earth, experiences a hallucination that saves her life. A young household servant, abandoned by the man who's gotten her pregnant, miscarries-though his betrayal helps her define what family truly means to her. Loneliness, so universal it has virtually become trademarked the Human Condition, is everywhere in art, and in life: we tend to fetishize it, or at least dab it with a perfume of sentimentality. But Alfonso Cuarón, now more than 30 years into a wide-ranging career that spans pictures like the Frances Hodgson Burnett adaptation A Little Princess, the space reverie Gravity, and the memoir-as-film drama Roma, is more interested in subtle emotional textures, in gradations of feeling that are always specific to the character at hand yet also joltingly recognizable. And now he brings his big-screen, big-story gifts to a limited series, an adaptation of Renée Knight's 2015 psychological thriller Disclaimer.
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THE NEW APPRENTICE
J.D. Vance's juggling act
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