The movie feels much like a political address—it makes grand claims that aren't often fulfilled. Channing Tatum portrays the film's central male stripper, who balances his roofing work with some amusingly suggestive dancing alongside his "Kings of Tampa" at Dallas’ club (Matthew McConaughey). Simultaneously, Adam (Alex Pettyfer), experiencing misfortune, is recruited by Mike because he’s attractive and agreeable, to perform for groups of women eager for a good time. The audience seems receptive, and soon he's earning money and offering hope for his mentor to acquire their own establishment. He isn’t the most astute individual, though, and a mix of quick cash and readily available drugs begins to jeopardize everything they’ve worked toward. To Tatum’s credit, he genuinely invests in his character and approaches the role with energy. McConaughey is also reasonably believable. Pettyfer, however, disappoints; while physically appealing, his performance lacks depth. He possesses no real charisma—he's like a damp teabag. The dance sequences are acceptable, but Steven Soderbergh seems hesitant to fully commit when it comes to delivering what’s expected. Considering the film is supposedly about the objectification of men, there's considerably more female nudity on display, which I felt undermined the point. It wasn’t necessary for everything to be exposed, but to explore exploitation—both its positive and negative aspects—you need something with greater authenticity. If it doesn’t provoke a strong reaction, then yes, some trimming is needed. The humor present feels predictable, and as the film descends into sentimental "I love you bro!" melodrama, it simply loses momentum. It's unfortunate because it held promise; ultimately, though, it's just a more polished but weaker imitation of the far more genuine “Full Monty” (1997).

Source on TMDB