Mamma Mia Here We Go Again Summary
If you loved the first "Mamma Mia!" picture show dorsum in 2008, well, "Mamma Mia! Here Nosotros Go Once again" offers even more—and even less.
The sequel (which is also a prequel) features a bigger cast, a longer running time, extra subplots and additional romantic entanglements. Merely it's emptier than its predecessor and has even lower stakes. It's less entertaining, and for all its frantic energy, it manages to become absolutely nowhere.
One time once more inspired by the music of ABBA and set on a picturesque Greek island, the second "Mamma Mia!" is the lightest slice of Swedish pastry with the sweetest clamper of baklava on the side. And while that may audio succulent, it's likely to give you a toothache (too as a headache).
At one point, during a particularly clunky musical number, I wrote in my notes: "I am so uncomfortable correct at present." But while the goofy imperfection of this song-and-trip the light fantastic toe extravaganza is partially the betoken—and theoretically, a source of its charm—it also grows repetitive and wearying pretty speedily.
No single moment reaches the infectious joy of Meryl Streep writhing around in a barn in overalls performing the title song 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 frontward to seeing Streep show off her playful, musical side again, you're going to be disappointed. Despite her prominent presence in the moving picture'south marketing materials, she's barely in it.
That's considering Streep's complimentary-spirited Donna has died, we learn at the motion picture's start, but her presence is felt everywhere in weepy ways. Her daughter, Sophie (Amanda Seyfried), is re-opening the inn her mom ran—now christened the Hotel Bella Donna—on the same idyllic (and fictional) Greek island of Kalokairi where the offset film took place. Writer-director Ol Parker (whose relevant experience includes writing those "Best Exotic Marigold Hotel" movies) jumps back and forth in time betwixt Sophie nervously putting the finishing touches on the large political party she's planning and the story of how her mother originally ended up on this remote slab of land in the Aegean Body of water—and became pregnant with Sophie in the late 1970s without being entirely sure of who the father was.
Lily James plays young Donna equally a firecracker flower child—a friendly mess of wild, blonde curls and high, platform boots. (James' sunny presence is one of the film's consistent bright spots.) We come 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 come across her flirt and fall for the iii guys she has giddy flings with the summer after college graduation.
Kickoff, there's the skittish Harry (Hugh Skinner), who tries to charm her with his halting French in Paris. Next comes the sexy Swede Bill (Josh Dylan), who woos her on the boat that carries her out to the isle. Finally, in that location's aspiring builder 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 be forced into singing ABBA songs that clearly make them miserable.
Ah yes, 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'southward tunes that are the near rapturous are too replays from the first go-round: 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 lesser-known songs, and the uninspired fashion those numbers are staged and choreographed rarely allows them to soar.
One time again, though, these actors are such pros that they tin can't help only make the most of their meager material. Baranski and Walters in particular have crackling chemistry again. The brief moments in which the supremely overqualified Firth, Skarsgard and Brosnan pal around with each other equally Sophie's three dads fabricated me long to meet them together in something else. Anything else. A documentary in which they have lunch on the porch under sunny Greek skies, even.
And then Cher shows upwardly. Now, it would seem impossible for this superstar goddess always to exist restrained. But equally Sophie's frequently absent grandmother, Cher seems weirdly reined in. Again, it's the clumsiness of the choreography: She just sort of stands there, singing "Fernando," earlier stiffly walking down a flight of stairs to greet the person to whom she's singing. (As the hotel'due south caretaker, Andy Garcia conveniently plays a character named Fernando, which is an amusing bit.)
But if you're down for watching A-listing stars belt out insanely catchy, forty-year-old pop tunes in a shimmering setting, and you're willing to throw yourself headlong into the idea of honey'south transformative power, and yous just demand a mindless summertime escape of your own, you lot might just thoroughly enjoy watching "Mamma Mia! Hither We Go Again." Don't think, and pass the ouzo.
Christy Lemire
Christy Lemire is a longtime picture critic who has written for RogerEbert.com since 2013. Before that, she was the film critic for The Associated Printing for near xv years and co-hosted the public tv series "Ebert Presents At the Movies" opposite Ignatiy Vishnevetsky, with Roger Ebert serving as managing editor. Read her answers to our Movie Honey Questionnaire here.
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Mamma Mia! Here We Get Again (2018)
120 minutes
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Source: https://www.rogerebert.com/reviews/mamma-mia-here-we-go-again-2018
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