Mamma Mia Here We Go Again Facebook
If y'all loved the first "Mamma Mia!" movie dorsum in 2008, well, "Mamma Mia! Here We Become Again" offers fifty-fifty more—and even less.
The sequel (which is besides a prequel) features a bigger cast, a longer running fourth dimension, actress subplots and additional romantic entanglements. But it's emptier than its predecessor and has fifty-fifty lower stakes. It'due south less entertaining, and for all its frantic energy, it manages to go admittedly nowhere.
Once once again inspired by the music of ABBA and set up on a picturesque Greek island, the second "Mamma Mia!" is the lightest piece of Swedish pastry with the sweetest chunk of baklava on the side. And while that may audio delicious, information technology's likely to give you a toothache (likewise every bit a headache).
At one point, during a peculiarly clunky musical number, I wrote in my notes: "I am so uncomfortable right at present." Simply while the goofy imperfection of this song-and-dance extravaganza is partially the betoken—and theoretically, a source of its amuse—it also grows repetitive and wearying pretty quickly.
No single moment reaches the infectious joy of Meryl Streep writhing around in a barn in overalls performing the title vocal in the original film, or the emotional depth of her singing "The Winner Takes It All" to Pierce Brosnan. Along those lines, if you're looking forward to seeing Streep show off her playful, musical side over again, you lot're going to be disappointed. Despite her prominent presence in the movie's marketing materials, she's barely in it.
That's because Streep's costless-spirited Donna has died, nosotros learn at the film's beginning, but her presence is felt everywhere in weepy means. Her daughter, Sophie (Amanda Seyfried), is re-opening the inn her mom ran—now christened the Hotel Bella Donna—on the aforementioned idyllic (and fictional) Greek island of Kalokairi where the beginning flick took identify. Writer-director Ol Parker (whose relevant feel includes writing those "Best Exotic Marigold Hotel" movies) jumps back and forth in time between Sophie nervously putting the finishing touches on the big political party she's planning and the story of how her mother originally ended up on this remote slab of land in the Aegean Sea—and became pregnant with Sophie in the late 1970s without being entirely certain of who the father was.
Lily James plays young Donna as a firecracker flower child—a friendly mess of wild, blonde curls and loftier, platform boots. (James' sunny presence is ane of the flick's consistent bright spots.) We run across the younger version of her best friends and jumpsuit-clad backup singers, Tanya (Jessica Keenan Wynn, doing a dead-on impression of Christine Baranski) and Rosie (Alexa Davies, standing in for Julie Walters). And we run across her flirt and fall for the 3 guys she has giddy flings with the summer later college graduation.
First, there's the skittish Harry (Hugh Skinner), who tries to charm her with his halting French in Paris. Adjacent comes the sexy Swede Bill (Josh Dylan), who woos her on the boat that carries her out to the island. Finally, in that location's aspiring architect Sam (Jeremy Irvine), who's already vacationing on Kalokairi when she arrives. They will grow up to be Colin Firth, Stellan Skarsgard and Brosnan, respectively, and they will exist forced into singing ABBA songs that conspicuously make them miserable.
Ah yeah, the ABBA songs. They provided the confectionery connective tissue for the smash-hit stage musical and the original movie. This time, the '70s Swedish supergroup's tunes that are the most rapturous are also replays from the first go-circular: a flotilla of fishermen singing and prancing to "Dancing Queen," or the splashy finale uniting the whole cast for "Super Trouper." Much of the soundtrack consists of bottom-known songs, and the uninspired way those numbers are staged and choreographed rarely allows them to soar.
Again, though, these actors are such pros that they can't help but make the most of their meager fabric. Baranski and Walters in particular have crackling chemistry again. The cursory moments in which the supremely overqualified Firth, Skarsgard and Brosnan pal around with each other as Sophie's three dads made me long to see them together in something else. Annihilation else. A documentary in which they have luncheon on the porch under sunny Greek skies, even.
And then Cher shows up. At present, it would seem impossible for this superstar goddess ever to be restrained. But every bit Sophie's frequently absent grandmother, Cher seems weirdly reined in. Again, it'southward the awkwardness of the choreography: She merely sort of stands there, singing "Fernando," before stiffly walking down a flying of stairs to greet the person to whom she's singing. (Every bit the hotel's flagman, Andy Garcia conveniently plays a character named Fernando, which is an amusing bit.)
Simply if you're down for watching A-list stars chugalug out insanely catchy, 40-year-old pop tunes in a shimmering setting, and y'all're willing to throw yourself headlong into the idea of love's transformative ability, and you just need a mindless summer escape of your ain, you might but thoroughly enjoy watching "Mamma Mia! Hither We Go Over again." Don't call up, and pass the ouzo.
Christy Lemire
Christy Lemire is a longtime film critic who has written for RogerEbert.com since 2013. Before that, she was the film critic for The Associated Press for nearly 15 years and co-hosted the public television series "Ebert Presents At the Movies" opposite Ignatiy Vishnevetsky, with Roger Ebert serving as managing editor. Read her answers to our Movie Beloved Questionnaire hither.
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Mamma Mia! Here We Go Again (2018)
120 minutes
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