Mamma Mia. Here We Go Again Movie Review
Journey to the by
'Mamma Mia!' is a very marmite film, with people either loving it or antisocial it. To me, it was something of a mixed bag with me neither loving or hating information technology. It does a lot right (the production values, the music, some production numbers and nigh of the performances), but had some serious reservations (the script, the story, variable singing).
When hearing and seeing that 'Mamma Mia!' was getting the sequel treatment, function of me was quite intrigued and the trailer looked inviting in terms of the music and production values. Also questioned the necessity of it, and did worry most how the script and story (although the concept had potential to piece of work) would fare, a lot of the script didn't audio very promising. Seeing it, 'Mamma Mia! Here Nosotros Go Again' has a number of strengths and did entertain me (the singing is also an comeback), but once again serious reservations (a few of them the same as 'Mamma Mia!' but done worse).
Starting with what 'Mamma Mia! Here Nosotros Go Over again' does right, it is stunning visually. Information technology is beautifully shot and the locations are exquisite and makes one want to volume a holiday there. The songs, while not fitting into the story line as well as 'Mamma Mia', are just great, with a mix of the old favourites and the lesser known songs. Very infectious and with clever stiff lyrics. The standout renditions are "Andante Andante" (gorgeous and moving), "Fernando" (raises the roof and it feels similar we're watching Cher performing at a concert rather than here featuring in a film) and "My Love, My Life" (will admit that the tears rolled, accept tissues at the ready).
Choreography has glitz, professionalism and free energy, not feeling overblown. "Dancing Queen" is epic, while "Waterloo" hasn't lost the energy that was brought into the song in 'Mamma Mia!'. "Fernando" and "My Honey, My Life" were unforgettably staged too. At that place is a lot of energy in the musical numbers, some charm and at that place are fun moments with Christine Baranski, Julie Walters and particularly Omid Djalili.
Lily James shines like a true star in a truly energetic, charming and sometimes moving operation. Amanda Seyfried sings beautifully and is suitably bubbly, while Jessica Keenan Wynn is suitably spiky and Meryl Streep moved me to tears despite her screen time being curt. Christine Baranski and Julie Walters accept nice moments, and Omid Djalili is a scene stealer. Didn't listen Pierce Brosnan having non much to do, beingness one of many people who disliked him and his infamous rendition of "S.O.S" in 'Mamma Mia!'.
He did seem tired here and Colin Firth and Stellen Skarsgaard are criminally underused. Alexa Davis overdoes it, with her emotions adjoining on overwrought. While Cher brought the house downward and raised the roof in "Fernando" elsewhere she didn't seem that engaged with a real lack of enthusiasm in her line delivery, likewise found her presence generally unnecessary and non adding much. The younger male cast are competent merely somewhat bland.
The story is fifty-fifty thinner than in 'Mamma Mia!' and in the non-musical number scenes the energy flags badly and come up over as flat, Ol Parker's workmanlike at best and sometimes lethargic direction in these scenes don't aid. The older/developed cast have far too niggling to exercise, they're basically cameos.
Writing is also weak, with a lot of the jokes falling flat and much of the script is formulaic and undercooked, sometimes vulgar besides and going well overboard on the froth. There are inconsistencies galore and the dual timeline, which a dainty thought, gets confusing in places.
Overall, a very mixed bag. Far from terrible, a long fashion from groovy. 5.5-6/x Bethany Cox
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More Mamma Mia
Sophie (Amanda Seyfried) is reopening the Greek island villa resort in honor of her belatedly female parent Donna (Meryl Streep). She invites her three fathers (Colin Firth, Stellan Skarsgård, Pierce Brosnan), her mother's best friends Tanya (Christine Baranski) and Rosie (Julie Walters), along with many others for the reopening. She decides not to invite her grandma (Cher). The movie also follows immature Donna (Lily James) as she travels through Europe coming together her three boys and falling in honey with a rundown villa on a Greek island.
If you love the first movie, there is nil non to honey in this sequel. In fact, this one eliminates the bad solo guy singing and replaces them with Lily James who is an energetic eager performer with a meliorate vocalization. I don't heed the Cher sections although it wants to be more ballsy than I can take. I don't like the bogus daylight groundwork at the villa which accentuates a bad simulated look compared to the real Greek island. There is ane moment when villa falls apart during storms in both timelines. At that moment, I can encounter a more than compelling plot device where both stories are mirror images of each other told at the same pacing with both cast doing the aforementioned songs. It doesn't mitigate the greatness of the climatic meeting in the church. I think it would actually raise the emotional impact if Lily James meets Amanda Seyfried and and so turns into Meryl Streep. The boyfriend isn't much and would be more dramatic if he goes abroad. As a musical, there are all the same a few famous ABBA songs to mine although there are others that I don't recognize. It's bright. Information technology's chipper. Information technology is a fitting sequel to the first pic.
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joy
Information technology is the bones purpose of this cornball one-act. All is known. Simply the humor and the scientific discipline of entertainment works in great fashion. Its importance - to be the expected sequel. The basic trait - it is just funny. Scene by scene, dialogue by dialogue. Not equally lesson of life. Mayhap, as recipe of liberty. So, see it !
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Argh!
This is the kickoff movie I accept seen, whose title not only tells you lot exactly what you lot will see, merely serves as my stance of it.
This review offers about 50 characters more than than this motion-picture show deserves.
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Succeeds with everything that the commencement did not
Alert: Spoilers
"Mamma Mia! Here We Get Again" is as the title already gives away the sequel to the 2008 Abba tribute moving-picture show "Mamma Mia". This new one here runs for slightly under 2 hours and it brings back virtually of the cast members from said original movie. And every bit for the latter, I must say that I am not a great fan at all to be honest. Nevertheless I read this new 1 got better reception and reviews and then I thought why non requite it a get. After all, I really like some of ABBA's stuff. And I was very positively surprised. Like I wrote in the title, this one here does everything right in these areas where the original picture show comes relatively brusque, gently-speaking, regardless if we are talking virtually the comedy, the music, the story or the acting. Or the performances to be more precise. I think there were some really practiced ones hither and the worst were perchance on the level of the best performances 10 years agone. You could run into that they were really casting with focus on music likewise, especially when it came to picking those who play the characters when they were immature. And there I am speaking already about a major component from this movie, which is that the moving-picture show in good old Godfather 2 way is a sequel that too takes us back several decades into the past. Meryl Streep's version of Donna may exist gone (really assuming choice by writer and director Ol Parker), but don't think there is no Donna in here. She is inevitably linked to the franchise of course. Withal, I idea overall that the "at present" convinced me more than than the past. But that is of course subjective. Lily James and the other actors from the old sequences practice a fine job too. But the biggest thumbs-up goes to Amanda Seyfried for certain. I am never likewise sure how much I like her, but she did really neat, especially in the music sequences. Her very first vocal, which is likewise the offset vocal of the film, was a delight already and it stayed that fashion every time she was about to sing. This includes the picture'south number 1 highlight, a duet named "One of Us" where ABBA is for once at their saddest, non at their fastest or about delightful similar with songs such equally "Mamma Mia" who may take a serious undertone, just nonetheless plough out full of bulldoze and power.
One matter I did non like that much, but it's actually just a modest criticism, is how Dominic Cooper was left out about entirely apart from the early telephone conversation and while Firth and Skarsgård got their return story, he did not. Compassion his proper name was not considered big plenty for that. Also his sudden comeback story with all his love being there again was kinda meh given what he said during the phone telephone call. Information technology is what it is I approximate. So in that location is Cher of class, heavily featured in the trailer, but yes, she does not do too much autonomously from beingness herself basically towards the stop. Just I read she has plans to release a total album with ABBA songs at present after this film and I'd dearest to hear that. The scene with Streep at the very end was sugariness nonetheless and I thought it was a nice treat for everybody who enjoyed the original movie more than than I did. Shame I did not because otherwise this could accept moved me to tears, that's how good it was. What else can yous say. Well maybe absolutely everybody was getting their man somehow and it was a bit too much of a forced happy ending maybe, but information technology's okay, somehow it fit the film's tone so it's fine. And yes I mentioned the one-act earlier already and there were some really funny moments like Skarsgård's twin brother in fat makeup telling everybody the embarrassing goat story. All in all, that's it I approximate. I could write a lot more almost the movie, but I just echo myself that this was a really positive surprise and one of the best 2018 movies I've seen. Nosotros'll see if information technology gets some awards attention at the Golden Globes for example. It definitely should if the first did. Also it gives a really skillful overview of some of ABBA's very finest, so it's not as well surprising to meet some of the band members as producers hither. I am not too sure how important information technology is to have seen the showtime to appreciate this one, maybe helps, but it's not essential you could say. So lookout this one here in any case, peradventure later on skipping the first. Just if yous have seen the showtime and sat through that one, then really don't miss out on this one here, especially for as long equally it is still in theaters because I think it is a much better watch on the big screen. Huge thumbs-up. Highly recommended.
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Money, Money, Coin
Mamma Mia! Here We Go Again is a musical sequel that has a stretched story focusing on the young Donna and how she encountered her three men. Fifty-fifty though nosotros did see those scenes in the first film.
The flick starts with Sophie (Amanda Seyfried) refurbishing her Greek island Hotel. Donna has passed away. Sky is in New York learning the hotel business and things exercise not seem to exist going well between them.
For the grand opening of the hotel in honour of her mother, Sophie has invited her iii dads and her mother'due south best friends.
The main function of the story is seeing the young Donna (Lily James) travelling through Europe later on graduating at university. Some of the scenes switch with that of Sophie.
Information technology required three writers to come up up with the story concept. The story is admittedly thin. The new songs are ok. Cher just looks odd when she makes her belated appearance equally Sophie'due south grandmother. She looks like someone who has just turned up for the pay bank check and decided to do an anthology of Abba covers out of it.
The Abba songs go on it entertaining simply this pic stinks of a cash grab.
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Mamma Mia! Here We Become Again
Warning: Spoilers
I debated whether I wanted to run across the sequel at the movie theatre, but then I watched the original again and I had much more fun, and I saw picture critic Mark Kermode enjoyed it, so I just went forth with and hoped to have fun. Basically Sophie Sheridan (Amanda Seyfried) is preparing for the grand reopening of the hotel formerly owned by her female parent Donna (Meryl Streep), who passed away a yr ago (in unknown circumstances). She is distressing that 2 of her fathers, Harry Brilliant (Colin Firth) and Bill Anderson (Stellan Skarsgård), are unable to get in, and she is trouble in her marriage to Sky (Dominic Cooper), who is in New York. It flashes back to 1979, to see immature Donna (Lily James) graduating from Oxford, forth with her friends and Dynamos bandmates Tanya (Jessica Keenan Wynn) and Rosie (Alexa Davies). Donna gets fix to travel the world, while in Paris, France, she meets and has a human relationship with Harry (Hugh Skinner). She later misses her boat to Kalokairi, just sailor Nib (Josh Dylan) offers her a ride, and forth the way they aid a stranded fisherman brand it to stop the dearest of his life marrying another man. Unbeknownst to Donna, Harry has followed her to Greece, but he is too late and watches every bit she sails off into the distance. In the present, (Tanya Christine Baranski) and Rosie (Julie Walters) make it to support Sophie with the reopening, it is revealed that Rosie and Bill have split up. Sophie visits Sam (Pierce Brosnan), who is withal grieving over the passing of Donna. Dorsum in the past, Donna arrives on the island and explores a farmhouse, during a sudden tempest, a young Sam (Jeremy Irvine) riding his motorbike helps her to rescue a spooked horse from the firm basement. Back to the present, a sudden storm has caused serious disruption to Sophie'due south plans for the thousand reopening and prevented media coverage of the event. Dorsum in the by, Donna and Sam are enjoying a whirlwind romance, but then Donna discovers a photo of Sam's fiancée, she tells him to leave the isle. In the present, Sam reassures Sophie the reopening volition go ahead, meanwhile Harry walks out of business bargain in Tokyo to support Sophie, and Bill gets his twin brother Kurt to take his place for an laurels acceptance. Bill and Harry come across at the docks, but there are no boats, simply Bill meets Alexio (Gerard Monaco), the fisherman he helped those years ago, he secures them a boat, besides as for newly arrived Heaven. In the by, a depressed Donna is heartbroken about Sam, she meets Bill once more and they spend time together on his boat. While they are gone, Sam returns, later catastrophe his engagement for Donna, he is saddened to hear that is with another man and leaves the island. Donna discovers she is pregnant, she has no idea which of her recent lovers is the male parent, local bar owner Sophia (Maria Vacratsis) overhears that she wishes to stay on the isle, she offers to let her live in the farmhouse, Donna happily accepts, and it is there that she gives nativity to Sophie. Dorsum in the present, boats filled with guests arrive for the party, Sophie is reunited with her other two fathers and Heaven, she reveals to him that she is significant, and feels closer to her mother, understanding what she went through. While Bill and Rosie reunite over their grief for Donna, Sophie's estranged grandmother and Donna's mother Ruby (Cher), despite having no invitation, arrives, she reveals that Sky tracked her downwardly in New York and wants to build a relationship with Sophie. Sophie then performs a song with Tanya and Rosie in honour of her mother, after which Ruby tearfully tells her how proud she is of her. It is revealed that the director of the hotel, Fernando Cienfuegos (Andy Garcia), is Ruby's ex-lover from years ago, the two are joyously reunited. Nine months later, Sophie has given birth to a baby boy, anybody is gathered in the chapel for the christening, the ceremony takes place with Donna's spirit watching over her girl with pride. Finally, all the characters, in their old and young guises, gather together to sing at the Hotel Bella Donna political party. Besides starring Celia Imrie as Vice-Chancellor, Omid Djalili every bit a Greek community officeholder, ABBA's Björn Ulvaeus as an Oxford professor and ABBA's Benny Andersson every bit "Waterloo" piano actor. Featuring all the ABBA hits "When I Kissed the Teacher", "I of Us", "Waterloo", "Why Did It Have to Be Me?", "I Have a Dream", "Kisses of Fire", "Andante, Andante", "The Name of the Game", "Knowing Me, Knowing You", "Mamma Mia", "Angel Eyes", "Dancing Queen", "I've Been Waiting for You", "Fernando", "My Love, My Life" and "Super Trouper". As earlier, all the actors do their best to sing, with mixed results, Cher belting "Fernando" is a highlight, all the songs (with some words tweaked) fit well into the story, the choreography is okay, if the first flick was ABBA Gold, so this More ABBA Gold, featuring bottom known songs. The story structure is only like The Godfather Part II, mixing the past with the nowadays, every bit before you tin ignore any imperfections and go along with it, singing along with your favourites, and the "My Love, My Life" sequence cannot fail but have you in floods of tears, simply nearly equally enjoyable as the commencement movie, a fun jukebox musical romantic one-act. It was nominated the Golden Globe for Best Moving-picture show - Comedy or Musical. Adept!
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A solid sequel to a surprise hit
This sequel takes place a yr after the death of Donna. Her daughter Sophie plans to reopen her female parent's hotel, on a Greek island, unfortunately it looks every bit if neither her three fathers nor her husband volition exist able to attend the opening political party. Intertwined with scenes of her preparing for the reopening we see how her mother came to the island all those years agone... and how she encountered the three men who are Sophie's fathers. Of course at every possible opportunity the bandage sing an appropriate ABBA song.
If you didn't enjoy 'Mamma Mia' you lot certainly won't enjoy this as it is more of the aforementioned; this of course ways if you did bask the first you are likely to enjoy this too. The story is adequately uncomplicated merely it is fun; peculiarly the flashback scenes of Donna making her way to the island and meeting the younger versions of the '3 fathers' for the offset fourth dimension. The songs are fun even if things are stretched a bit to justify the inclusion of some well-known songs... particularly 'Fernando'. Of course the songs are a lot of fun, fifty-fifty the less well-known ones. The bandage does a fine job and are clearly having fun; Lily James stands out every bit the immature Donna. The setting, with its cute settings and generally fine conditions, just add to the pleasure provided past the film. Overall I'd say this won't be for everybody but it is skillful cheesy fun if yous enjoy that sort of affair... and I did, more than I expected.
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Ten years later, this fills in the back story.
My wife and I watched this at home on DVD from our public library. Can you believe it has been 10 years since "Mamma Mia" came out?
In the 2008 movie we learn that adult Donna, who runs the small-scale hotel on the Greek island, had romantic encounters with 3 unlike men 21 years earlier and wasn't sure which was the actual father of her girl. And then they all showed up in that story, sharing the fatherly roles.
In this movie we see a young Donna just finishing college so going off to come across the earth a bit, eventually landing on the Greek island. Then the motion picture has a series of actors, young and former, playing each key character equally the younger and older counterparts.
Lily James is sufficient as Young Donna, her interim is good and her singing is just passable, as are virtually of the cast. This is a musical, all the characters sing. Meryl Streep just barely shows up at the terminate, as a vision her daughter is having, and does a beautiful vocal. Streep is clearly the best singer in this cast, although Cher as the grandmother performs well. Interestingly Cher who plays Donna's mother is only 3 years older than Streep.
Anyway we enjoyed it. The story and the movie are pretty quickly forgettable merely for those in the mood it is an entertaining nigh two hours.
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I actually liked Mamma Mia! Hither Nosotros Go Once again a little better than its predecessor
It's now been 10 years later the moving-picture show version of the original Mamma Mia! stage musical of ABBA songs came out. I reviewed that one on this site back in January 2009 and mentioned enjoying it very much despite the shallow plot and characterizations. For some reason, when watching this sequel with my moving picture theatre-working friend, I felt a little differently and now feel the characterizations and the plot-which goes back and forth between the daughter Sophie reopening her mom's hotel after said parent's passing and Donna when she was just going out on her own after college graduation-was better defined and believable. Me and my friend were but enjoying not only the characters and the plot but also the ABBA songs picked for this ane of which not many of the tunes were hit singles this fourth dimension around. There were also a couple of nice surprises at the end, and oh, this time Pierce Brosnan simply sang once solo and he's a lilliputian easygoing hither to a better result! Actually, I had a much wonderful time with my friend watching this in a theatre so close to the screen and then on that note, I highly recommend Mamma Mia! Here We Go Again.
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Hither we go again!
Warning: Spoilers
Is it a sequel, is it a prequel? In all honesty it's a bit of both, and simply as much fun as the first film.
With an entertaining bandage (the younger versions of whom are well cast too) and of grade the legendary ABBA music, this is an entertaining picture indeed.
I would urge them to finish at ii films now though.
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A light hearted and fun moving picture
This film is fun and light hearted. It has a lot of music, merely doesn't experience like an extended music video. Three scenery is cute, and it'southward great to see so many famous faces. It'south obvious from the lighting that many outdoor scenes weren't filmed outdoors, but I'm non complaining.
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Meat ball
Funny motion-picture show. I similar the scrap with all the singing and stuff
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VERY disappointing
Lousy sequel to the wonderful 2008 movie. It has Sophie (Amanda Seyfried) renovating and reopening the inn her mom Donna ran. And so information technology flashes dorsum to Donna as a immature daughter (Lily James) meeting the iii men who become Sophie's male parent. As with the first there's plenty of swell ABBA songs on the soundtrack.
This movie has a lot going for it. Nifty songs, large cute production numbers, a proficient cast...simply it doesn't piece of work. The death of a main character (Donna) hangs over the movie. Information technology's nighttime and downright depressing. Slow-moving too and the script is full of plot holes and inconsistencies. . The wonderful singing and dancing helps to a point. Also Cher's much publicized role is footling more than than an extended cameo. As well Andy Garcia is on paw looking terrible. The new young bandage is certainly attractive but given no time to develop their characters. Dreary, dark and depressing. Skip it.
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Different and the same
Warning: Spoilers
Sophie is masterminding a revamp of the hotel on Kalikairi, only the grand re-opening may not get as well as she hoped - she wonders how her mother coped, and and then Donna's backstory unfolds for us.
10 years ago I took my 81-twelvemonth old mother to see the cheesy just improbably joyous Mamma Mia at the cinema - she and my father fell in beloved with it, and still watch it often. She is now pushing 92 but, with the help of a borrowed wheelchair, made the trip to the cinema to see the follow-up - function sequel and part prequel - and loved it.
I remember information technology'southward a meliorate film than the original - it'due south certainly a more than solid story - albeit that unexpected sheer joyfulness coupled with Meryl Streep'due south securely emotional performance doesn't - can't - outburst upon the audience with all the surprise of the starting time film.
And the selections from the Abba catalogue are, of necessity, the lesser hits and the deeper cuts. This doesn't affair. They are all well tailored to the story (or, perchance, vice versa), and I marvel once more at what a deft lyricist Bjorn Ulvaeus was in his second language.
Speaking of Ulvaeus, the Abba guys both cameo again, and early on. And so y'all don't sit at that place waiting for them.
The backstory is intercut with the nowadays mean solar day. The "Then" cast are saddled with the horrible task of playing parts which have already been established in a picture which features the original actors playing those parts in one case more. The lads are OK, merely the 2 girls do well. Lily James as Donna doesn't play Meryl Streep, but her charm and verve mean that she commands the screen in her own right.
We came out of the cinema quite pleased that the filmmakers had managed to recapture a sense of joy while doing something rather dissimilar to what we might have expected.
And I shan't be spoilering the picture show's big secret. You didn't hear it from me.
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a await back
Greetings again from the darkness. It'south been 10 years since director Phyllida Lloyd presented the crowd-pleasing MAMMA MIA! motion-picture show. It was a box part hit (over $600 million worldwide) and was, for a few years, the highest grossing musical of all-time. Most importantly, it was extremely entertaining and a joyous cinematic romp for viewers. This year's sequel is directed past Ol Parker (THE BEST EXOTIC MARIGOLD HOTEL and husband to actress Thandie Newton), and though the melancholy is slathered on a bit too thick, it as well fulfills its number one priority - entertaining the fans.
The story begins with Sophie (Amanda Seyfried) putting the final touches on the house-turned-hotel in grooming for the upcoming Grand Opening. It's named Hotel Bella Donna in award of Sophie's mother (Meryl Streep). What looks to be a directly-forward story surprises us with a flashback to Donna'southward 1979 graduation, which features not only the first song-and-trip the light fantastic toe number "When I Kissed the Instructor", but also the showtime of two ABBA cameos ... Bjorn Ulvaeus as a professor. The young Donna is played brilliantly by Lily James, and she effortlessly captures the free-spiritedness that led to the conundrum of the get-go movie - iii possible dads for Sophie.
Those three dads return not only equally Pierce Brosnan (Sam), Stellan Skarsgard (Bill), and Colin Firth (Harry), but besides equally Jeremy Irvine (young Sam), Josh Dylan (young Bill), and Hugh Skinner (young Harry). In fact, most of the run time is dedicated to the backstory of these characters and how they first met equally youngsters. Each has a segment (and song) with young Harry featured in "Waterloo" accompanied by Benny Andersson (ABBA cameo #two) on pianoforte. Young Bill is the mannerly sailor who saves the day for Donna, while young Sam assists her with saving a storm-shaken horse (kind of humorous since Mr. Irvine starred in WAR HORSE).
Also dorsum are Dominic Cooper as Sky, Sophie's true dearest, who can't determine between romance and career, and Donna's life-long friends Tanya (Christine Baranski) and Rosie (Julie Walters), who are besides part of the flashback as Jessica Keenan Wynn (excellent as young Tanya) and Alexa Davies (as immature Rosie). New to the cast are Celia Imrie in the graduation number, Andy Garcia as the hotel director, and drawing the biggest applause of all ... Cher as Sophie's grandmother (and as my viewing partner commented, an early peek at what Lady Gaga will look similar as a grandma)! It'southward all-time if you feel Cher for yourself, and it should be noted that this is her first big screen appearance since BURLESQUE in 2010.
Of form, the songs are key and many of the ABBA numbers from the beginning movie are featured again this time. In particular, "Dancing Queen" is a nautical standout, and "Fernando" is a show-stopper. While it may not exist quite as raucous every bit the offset, it's a treat watching Lily James, and in that location is a wonderful blending of "onetime" and "new" in the finale. The only real question remaining is, did the casting director do the math before casting Cher (age 72) as Meryl Streep's (age 69) mother?
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Even meliorate than the first i!
Let'south go the obvious out of the fashion: Meryl Streep is in this movie for 5 minutes. She may be front and center in the promotional poster, and she may get the "and" in the credits, simply she makes her entrance during the very terminal scene of the film. The premise of this prequel/sequel is that her character has died, and her daughter is struggling to run the hotel by herself. I know; no one told me that, either. This one's a drama, folks.
I idea this movie was going to be terrible, a empty-headed excuse to prance around and sing more than ABBA songs, alongside a thin plot that was described in v minutes during the original and didn't need more detail. Just it'due south and then much better than the showtime one! Not constrained by the ill-plumbing equipment songs of the original Broadway musical that stuck numbers into scenes with no connection to furthering the story, this movie actually puts songs in when they matter. In that location are a few overlaps of songs that were used in the first movie, but the vast majority of the songs are new (to the movie, non to ABBA fans); and many of them have a more somber tone that fit the story. "One of Us" is sung by Amanda Seyfried and Dominic Cooper when they break upwards at the start of the movie. "I Wonder" (a dandy number that you lot'll only find in the deleted scenes) is sung past Lily James as she heads off to have a European gamble after graduation.
The all-time role of the movie, and the reason it'due south infinitely ameliorate than the get-go i, is the respect the "younger cast" gives to the "older cast". While function of the plot is a sequel, five years after the first movie ended, with Amanda Seyfried planning a grand re-opening of the hotel with one of her dads, Pierce Brosnan, past her side, the main plot is a prequel, chronicling her mother's journey to Greece and her encounter with three young men. In this extensive flashback, everyone was given a younger counterpart, and everyone did extensive research. Lily James projects all of Meryl Streep'south mannerisms from the first movie, Jeremy Irvine perfects Pierce Brosnan's accent, Hugh Skinner matches Colin Firth'southward hesitation and speech patterns, Josh Dylan is just as carefree and fun as Stellan Skarsgard, Alexa Davies puts in shoulder rolls and wacky movements to channel Julie Walters, and Jessica Keenan Wynn seems like someone put Christine Baranski in a time machine. It's wonderful to see the younger bandage and the older cast in alternating scenes, and, merely similar the original, you lot tin feel how much fun anybody had while filming.
While it's rude to pick out one member among the cast as the highlight, Lily James is such an adorable, likable sweetheart, she deserves an extra mention. It'southward no pocket-sized task to make everyone in the audience forget they came to the theaters to see Meryl Streep, and still to continually remind anybody that y'all're playing her younger counterpart. No criminal offense to Miss Streep, simply no one will miss her in this film. With a brilliant, fresh, new actress on the screen who embodies the free spirit of a time period that passed before she was born, information technology's just non possible to call up annihilation's missing from the leading lady of the moving-picture show. She'due south delightful, cute, sunny, frisky, and total of life. You might even puzzle as to where you've seen her before, since she'due south so transformed from the famed cinder daughter, Churchill's secretarial assistant, and, virtually notably, the flapper cousin to the Granthams.
In that location'southward so much attention to detail in this movie, and as someone who knows the commencement Mamma Mia like the back of my hand, I was able to capeesh all of it. Writer-managing director Ol Parker obviously loved the original and studied it, including references to every clue dropped in the script, from adding in a twin to making sure Hugh Skinner wore a Johnny Rocket t-shirt. Simply don't pay attention to the club of the relationships written in the diary from the showtime movie. This one makes so much more sense, so just go with information technology. With fun, flashy colors, costumes, and on-location filming, every song and scene is enchanting.
Keep in mind information technology's a drama. I may be an easy target, since I bark my mode through the first Mamma Mia every time Meryl Streep sings "Slipping Through My Fingers," but I cried twice as hard during this movie. There are a couple of songs that connect mother and daughter, and, depending on your level of sappiness, you'll demand between one and fifty Kleenexes to go through them. In my opinion, it's a great compliment to the film if the audition cries. I wouldn't take cried and then much if Lily James was unlikable or if the story wasn't interesting.
Trust me, fifty-fifty if you remember it's going to be silly, yous've dear it far more than you thought possible. From songs that declare children the love of a parent's life, to big '70s hair, to finding habitation where you to the lowest degree await information technology, to seeing anybody reunited ten years later with jokes and winks to go around, this is a movie you'll want to watch over and over once more. If yous thought the end credits of the first movie were fun, you lot'll love the credits in these, as the older and younger people dance together and savor adorable curtain calls. I know what I'grand getting for Christmas-that, and a box of Kleenex.
DLM Alert: If yous suffer from vertigo or dizzy spells, like my mom does, this movie might not be your friend. When Amanda Seyfried lies down on her bed during "I of United states of america" the camera spins around in a circumvolve, and information technology volition make y'all sick. At that place'south another circumvolve during "Waterloo" right afterwards it shows the chorus adult female in a wheelchair. A third spin is in the endmost credits during a group shot. In other words, "Don't Look, Mom!"
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If not for Lily James this wouldn't be worth watching
Warning: Spoilers
LiIy James has so march charm and free energy and she dances and sings well. She makes some of the other actors expect insipid and amateurish. That was casting genius. But the younger versions of the men were desperately cast except for Jeremy Irvine of War Horse who is okay. The young Bill and Harry are and so creepy looking. Musically the familiar songs like Mama Mia and Dancing Queen are welcome rehashes. Some of the new songs are unmemorable and draggy and don't advance the plot.
The filming was in Croatia and the lush vegetation and sandstone buildings look like Croatia non Hellenic republic.
One of the few good points was that the story quite satisfyingly explained how she slept with the three men in pretty quick succession without being sleazy.
I of the almost plus points was that Meryl wasn't in nearly of this film. When she finally reappears she drags things downwardly to a substandard level. She ruined the start movie. Cher is so much better than her.
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Infectious summer fluff. The music will take you lot dancing.
If yous know the basic plot roofing both Mamma Mia!s, namely that young Sophie (Amanda Seyfried) is the daughter of deceased Donna (Meryl Streep), and then you lot'll wade through happily the many strands of flashbacks that are cut and so swiftly you lot'll wait for ABBA's songs for relief. Mamma Mia! Hither We Go Again gives back story aplenty with songs that even from the seventy's are even so vibrant.
Consider "When I Kissed the Instructor" and "Andante, Andante" for just two melodic pop tunes plumbing equipment into another screen version of what started every bit a Broadway musical. Try to forget Pierce Brosnan singing "When all is said and washed" in the first Momma Mia! In this one he'south mercifully given only a few lines to sing. Nearly everyone else can deport a tune and trip the light fantastic toe nicely, cheers.
More astonishing is shoehorning "Waterloo" into a plot that wouldn't seem compatible. But it is, and the number is visually fantabulous. Consider besides their inserting over-the-top Cher every bit grandma from her arrival past copter, her platinum wig, and waxen face to her rendition of "Fernando" with a game Andy Garcia. Worth the cost.
Of course with this brew up of Abba romantic songs and the burden of figuring out which histrion is which version of an original character, you eventually done the 2 hours and are free to think of your ain family tree, without the soap opera flourishes. Refurbishing Donna's erstwhile business firm gives daughter and movie a reason to be excited.
The musical has an infectious spirit that percolates when the older characters are eye stage. Something virtually Colin Firth and Meryl Streep, for just 2 examples, reminds me of the charisma a mature star can bring that younger, handsomer, hipper actors can't achieve. No carping, even so, can erase the beautiful Greek isle background, ridiculously sloppy, romantic plot, and actors born to exist showcased for their looks and for well-nigh, except Brosnan, their musical talent.
Summertime's bounty, no more than or less.
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MAMMA MIA! Hither WE Go AGAIN promises pure joy and Euro-pop feel-goodism to its cadre audience
Precisely 10 years afterwards its massively popular antecedent, this ABBA-jukebox musical sequel/prequel returns with a somber premise, our beloved protagonist Donna Sheridan (Streep) has kicked the saucepan (does the film even reveal the cause of decease?), and passes the baton to her daughter Sophie (Seyfried, thankfully bestowed with an ethereal voice), who is still processing her grief and the sequel-story kick-starts in the same Greek isle of Kalokairi, where Sophie has a forthcoming reopening of Hotel Bella Donna to commemorate her mother with the help of the hotel managing director Fernando (García).
Meantime, the motion-picture show's prequel-narrative is rewound to 1979, recounting a young Donna (James, spirited and ebulliently fleshes out the Streep-less narrative arc with her stentorian singing bent), freshly out of college, how she winds up on the island and gets knocked upward only cannot tell whose fortuitous sperm strikes gold, and decides to heighten her child all on her own. Then apart from the old gang, even Streep has a glorified cameo most the cease as a ghost reunited with Sophie during her baby granddaughter's christening ceremony, the cast is redoubled not just past the initiation of the younger-cocky cohort, Jessica Keenan Wynn and Alexa Davies evoke uncanny resemblances and share boggling exuberance with Christine Baranski and Julie Walters equally Donna'due south bestie Tanya and Rosie, then and at present, respectively, but also by the much-hyped advent of Cher, Streep'southward SILKWOOD (1983) co-star, who perversely plays Donna's female parent Cherry-red in some other glorified cameo, and struts her pristine skin status and minimal movement when belts out FERNANDO, opposite to a seemingly unnerved Garciá.
Never trying to overreach it from its self-knowledge of a escapist potboiler, basks in photogenic landscape or seascape and its catchy tunage, MAMMA MIA! HERE WE GO AGAIN promises pure joy and Euro-pop feel-goodism to its core audience and writer-manager Ol Parker attests to be an able hand in analogous and segueing betwixt two story-lines, together with a faculty for choreographic deployment.
As much every bit the cast enjoys a helluva shindig and disseminates an infectious jag of joviality to ascertain audience are having a skilful time either, a takeaway afterthought pops up unexpectedly past positing a morbid if entirely irrelevant presumption, how can nosotros arrange ourselves when one 24-hour interval we will truly lose our national treasure similar Meryl Streep and her ilks? Such a dreadful thought, possibly, seeing things through blue-colored spectacles is this reviewer's kryptonite.
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A Haunted House Sequel of The Original
Alert: Spoilers
There are practiced things nearly this musical comedy. The locations used in Croatia wait fabulous. The Graduation seen at Oxford, Britain reminds me much of Professor Wagstaff'due south college decorum at Huxley University in HorseFeathers (for those who have never seens one of the Marx Brothers top grossing films from Paramont, it throughly lampoons college educational activity. That is the just reason why it doesn't get as much aclaim as Duck Soup. )
Some other practiced matter is the crossing of 3 generations or so in the cast. The idea here is to continue the story and try to get all ages interested it information technology. A off-white function of the cast is really quite old. 72 Year One-time Cher looks very heavy both in girth and in the brand upward department. Information technology is also unclear why she is fifty-fifty in that location other than to do the one song. I also wonder if CGI is used along with make-up on Cher as her cervix has no wrinkles which is truly amazing.
Meryl Streep at age 69 does not take as much brand up and really looks good for that age. I am glad to see the Grandparents, Parents, Kids and Grand kids all mixed together.
The bad parts are the mix ups in script and the story. I came out of the film that I saw with someone and they had a different idea of what everything meant than I did. I would classify this more equally a Musical than a comedy. Of class, the way they present it I think an episode of 79 yr old Maury Povich needs to exist done to have a DNA examination sort out the fantasy from the reality (if there is any reality in this plot line). Oh well, we got 3 daddies, a plastic great Grandma, a mom who appears to exist risen from the expressionless, and more women throwing themselves at men than the average movie. Women tin throw themselves at METOO, I don't mind.
I recall with a few lines and zingers, we could make this a sequel to Halloween and bring in Jason as Cher's Ex-Grandpa. It is entertaining and well staged. It's just a bit out of the realm of being a musical that would bring back musicals and another summer of 2018 movie that falls short. (note- the One-act in Ant Man and The Wasp is much more on target than the sense of humour in this musical, fifty-fifty though it gets shrunk).
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I could intendance less virtually any of the characters in either film, or any of their drama, only I love ABBA though!
'MAMA MIA! Hither Nosotros GO Over again': Ii and a Half Stars (Out of Five)
A sequel/prequel to the hitting 2008 jukebox musical comedy (based on the 1999 musical of the aforementioned proper name). The picture is once again filled with music by the band ABBA, and it was written and directed (this time) past Ol Parker. Information technology tells the story of how Sophie'south mother became pregnant with her, while Sophie is at present dealing with pregnancy herself. The pic stars Lily James, Amanda Seyfried, Jeremy Irvine, Hugh Skinner, Josh Dylan, Jessica Keenan Wynn, Alexa Davies, Pierce Brosnan, Colin Firth, Stellan Skarsgard, Christine Baranski, Julie Walters, Dominic Cooper, Andy Garcia, Cher and Merly Streep (in a cursory cameo). It's received generally positive reviews from critics (unlike information technology'south predecessor), and information technology'due south another big hit at the Box Office as well (much like the original). I liked it just most every bit much equally I did the kickoff picture, which isn't much.
The story takes place five years after the events of the original, and Sophie (Seyfried) is now pregnant herself. While dealing with this news, she reminisces about the life of her (now) deceased mother, Donna (Streep); when Donna was younger (James) and became pregnant with her. The picture explains how Donna met Sophie'south 3 possible dads (Irvine, Skinner and Dylan), and the romances that adult with each of them. The unabridged affair is of grade played out (once over again) while characters are singing and dancing to ABBA tunes.
I like the band ABBA (I have their 'Best Of'' CD), and I do like the music in both films. I also like musicals, sometimes a lot. These films are just so cheesy and cliched though. They're totally uninvolving every bit well; I could care less about any of the characters in either picture show, or any of their drama. The music is of course fun to hear though. Fans of ABBA, and musicals, volition probably find it enjoyable enough (especially if you like the first movie).
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Abba 'nother one
Okay and so this i I took for the squad, accompanying my married woman to this second film featuring the music of one of her favourite groups. My opinion of Abba's music is that when they're good they're very good but when they're bad they're dire. Obviously the first movie, based on the stage show, employed all the generally very practiced "Abba Gold" greatest hits while hither there are quite a lot of second division tunes just their well-nigh devoted fans will know. "Kisses Of Fire", "Andante Andante", "When I Kissed The Instructor" anyone?
The producers seem to admit this weakness past repeating some of their biggest hits which had obviously already been in the kickoff pic such as "Waterloo", "Knowing Me Knowing You", the inevitable "Dancing Queen" and snippets of many others too.
The storyline is as flimsy as before and really only a contrivance to go all the original characters reunited in forepart of the cameras in brilliant outdoor settings. A few new characters do show upwards most notably Cher who delivers a surprisingly good version of both "Fernando" and "Super Trouper " to requite the picture show a lift at the end.
There are some neat and inventive camera tricks which help the flow of the flick whilst the humour is equally girlie and occasionally risque as you'd expect - clearly the film makers know their audition.
Anyway it's all very vivid , tuneful, happy and entertaining in a lightweight sentimental mode, as you'd expect and my wife, well she absolutely loved it.
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Terrbile movie it may be but this is glorious fun.
Similar the starting time one it is, of course, critic-proof, (Meryl knew that when she agreed to put in a cameo advent and Cher knew it when she saw a run a risk to resurrect her career at the age of seventy-two). In that location are times when it resembles zilch more gay nighttime at the pantomime, (and if yous thought the first one was gay look until you encounter this ane), simply it would be churlish to try to resist it and, to be fair, this is by far the better picture. We are talking, of class, about "Mamma Mia; Here We Become Again", the sequel/prequel to the film version of the stage testify that has been playing somewhere in the world for what seems an eternity.
The first flick worked because the Abba songs were/are basically indestructible and I did think information technology quite clever how they were able to construct a story around them. It was a terrible movie but information technology was as well undeniably good fun and there were even a couple of times when it didn't seem so terrible at all. I enjoyed it while recognizing every one of its faults but I dreaded this follow-up. Surely all the best songs had already been used upwards, I thought. Isn't this merely cashing in on the success of the original?
Well, yes and no. It was obvious to anyone with a brain that they were on to a adept matter then why not come upwards with another 'story', even so flimsy. The plot is merely how did Donna run into the men in her life and how come up she couldn't be sure first time effectually who the father of her child was. It isn't much of an idea to hang a whole movie on so let's have her daughter Sophia plan a big reopening of Donna's hotel, (Donna/Meryl has been dead a yr when the film opens), bringing together the cast of the original, (every bit I said Meryl's appearance is reduced to a adept-natured cameo), while cross-cutting between past and present.
In the flashbacks, Donna is Lily James while Stellan Skarsgard and Pierce Brosnan are now hunky Josh Dylan and Jeremy Irvine. Unfortunately, poor Colin Firth is reduced to a very nerdy and patently gay Hugh Skinner who seems to have mastered the art of playing fools. No matter, he's still the commencement to bed Miss James, losing his virginity in the process. So far, so obvious merely this fourth dimension around the musical numbers are much better served by the cloth and are actually very well staged while the performances are, in every way, stronger. As I said, by the time 'Dancing Queen' comes around resistance is futile and the moving picture becomes an elaborate political party, the kind you always hoped you'd be invited to. Of form, neither moving picture will always be on anyone's list of all-time great musicals but even if you hate yourself in the morn, this is one party worth having a hangover for.
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How can you not relish this?
Look, I'thou not going to sit hither and say that these Mamma Mia films are expert, but I undeniably enjoy them. There'due south just something special about a grouping of actors, not commonly seen in these cheesy films, having the fourth dimension of their life singing incredibly catchy pop songs and dancing their butts off. This motion-picture show is a sort of sequel and prequel combined (i'm not kidding when I say the producers were inspired by The Godfather Part 2) and it has a massive cast, merely near notably Lily James as a young Meryl Streep. Continuing as i of the most likable immature actresses working today, James doesn't try to do a Meryl impression only certainly possesses the charisma that a immature Streep did, all the while filling out the gaps of this characters past. The songs are bully, the performances are generally serviceable, the management is always engaging, and the script is the good kind of cheesy. Oh, and the Dancing Queen sequence? Yeah, it's i of the all-time scenes of year in film. Yes, I just said that.
8.ii/10
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