Miguel, parked in his red convertible, watches Mariah Carey.

In the back of the barn, lit by a dozen chandeliers, she touches her stomach, turns around and lets Miguel get a view of her backside. Miguel tilts his head to get a better view.

She looks to the camera, confident she is doing a good job. She bends her knees, puts her hands between her crotch and then gets up. She hugs herself and then turns around again. She puts her arms across her head and then prances back to the center. She bends over, letting her breasts hang out of her yellow dress. She hangs onto the ends of her dress. Miguel glances into the rearview mirror and she puts her hand over her mouth.

Please, please, please let a chandelier fall. On top of the convertible is fine.

She turns around again and plays with the tips of her dress. She hangs onto the bottom of her dress and puts it by her crotch. She skips and then runs her hand through her hair. She bends down again and Miguel sits on top of his convertible.

Ooh! Maybe a squirrel can dash right in. Squirrel, possum, raccoon, please come out!

He returns back to the driver’s seat. She plays with the bottom of her dress again and shoos him away. She waves to him to tell to him to stop. Miguel shakes his head, delighted with her.

Wait? Are those sirens? The police could burst onto the scene and arrest them for trespassing!

She smiles and then touches a part of her chest and thigh. She plays more with the bottom of her dress. Then, she touches her legs, chest, neck and then puts both arms in the air. Miguel cheers her on. With his finger, he indicates her to spin. She does what he says. She starts waving her hands, telling him enough. He laughs. She waves goodbye and walks into the forest.

 

Rating: 0/5

It’s as though a high-class hoedown was cancelled at the last minute and Mariah Carey and Miguel snuck in before the workers came to take the chandeliers down. There’s an underlying sleaziness to it that even the tiniest diamond-shaped crystals on the chandelier can’t even disguise.

     Director: Joseph Kahn  Year: 2013