![]() Actually, feel free to be fooled because The Full Monty’s subversion of the light-shenanigans template is an admirably bold bait-and-switch. So the new Full Monty is fully clothes-on.ĭo not be fooled. A quarter of a century on, however, the prospect of the old boys windmilling their hosepipes in housewives’ faces would horrify everyone. Those six appendages were the pegs on which were hung serious subtexts about the misery of life in a Thatcher-ravaged, deindustrialised northern England. The film had it easy, plot-wise, in that it built towards that heartwarming climactic moment when a sextet of men showed the local community their penises. We simply return to Sheffield 26 years later, to find the same characters, played by the same actors, living the same lives. That means there’s no need to rejig the story of redundant Sheffield steelworkers who, in 1997, found solace in hard times by forming a Chippendales-style male striptease troupe. The Full Monty (from 14 June, Disney+) is the latest entrant in an already tired genre, but it has one up on most of the competition: all the core cast are in that sweet spot where they’re successful enough to be worth rehiring but not so famous they’ve turned the reboot down. Would you like to watch a weird cosplay version of them that goes on for 10 hours and confusingly reshuffles the plot? Um, not really. Do you remember the movies Fatal Attraction, Dangerous Liaisons and American Gigolo? Yes. Television shows that remake films tend to be exercises in pointless nostalgia.
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