Mamma Mia: Here We Go Again Was Horrible
Journey to the by
'Mamma Mia!' is a very marmite film, with people either loving information technology or hating it. To me, information technology was something of a mixed purse with me neither loving or hating information technology. Information technology does a lot right (the production values, the music, some production numbers and most of the performances), only had some serious reservations (the script, the story, variable singing).
When hearing and seeing that 'Mamma Mia!' was getting the sequel treatment, part of me was quite intrigued and the trailer looked inviting in terms of the music and product values. Also questioned the necessity of it, and did worry about how the script and story (although the concept had potential to work) would fare, a lot of the script didn't sound very promising. Seeing information technology, 'Mamma Mia! Hither Nosotros Go Once again' has a number of strengths and did entertain me (the singing is also an improvement), but again serious reservations (a few of them the same as 'Mamma Mia!' simply done worse).
Starting with what 'Mamma Mia! Here We Become Once more' does correct, it is stunning visually. It is beautifully shot and the locations are exquisite and makes one want to book a holiday in that location. The songs, while not fitting into the story line equally well as 'Mamma Mia', are only bully, with a mix of the old favourites and the lesser known songs. Very infectious and with clever potent lyrics. The standout renditions are "Andante Andante" (gorgeous and moving), "Fernando" (raises the roof and it feels like we're watching Cher performing at a concert rather than here featuring in a picture) and "My Love, My Life" (will admit that the tears rolled, have tissues at the ready).
Choreography has glitz, professionalism and energy, not feeling overblown. "Dancing Queen" is ballsy, while "Waterloo" hasn't lost the free energy that was brought into the song in 'Mamma Mia!'. "Fernando" and "My Love, My Life" were unforgettably staged too. There is a lot of free energy in the musical numbers, some charm and there are fun moments with Christine Baranski, Julie Walters and particularly Omid Djalili.
Lily James shines similar 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 brusque. Christine Baranski and Julie Walters take nice moments, and Omid Djalili is a scene stealer. Didn't mind Pierce Brosnan having not much to do, being ane of many people who disliked him and his infamous rendition of "South.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 bordering on overwrought. While Cher brought the firm down and raised the roof in "Fernando" elsewhere she didn't seem that engaged with a real lack of enthusiasm in her line delivery, also found her presence generally unnecessary and non calculation much. The younger male person cast are competent but somewhat bland.
The story is fifty-fifty thinner than in 'Mamma Mia!' and in the non-musical number scenes the free energy flags badly and come over every bit flat, Ol Parker'southward workmanlike at all-time and sometimes lethargic direction in these scenes don't help. The older/adult cast take far too little to practice, they're basically cameos.
Writing is also weak, with a lot of the jokes falling apartment and much of the script is formulaic and undercooked, sometimes vulgar likewise and going well overboard on the froth. There are inconsistencies galore and the dual timeline, which a overnice thought, gets confusing in places.
Overall, a very mixed bag. Far from terrible, a long mode from neat. v.5-six/x Bethany Cox
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More Mamma Mia
Sophie (Amanda Seyfried) is reopening the Greek island villa resort in honor of her late mother Donna (Meryl Streep). She invites her three fathers (Colin Firth, Stellan Skarsgård, Pierce Brosnan), her female parent's best friends Tanya (Christine Baranski) and Rosie (Julie Walters), along with many others for the reopening. She decides non to invite her grandma (Cher). The film too follows young Donna (Lily James) as she travels through Europe meeting her iii boys and falling in love with a rundown villa on a Greek island.
If you love the showtime movie, at that place is nothing not to love in this sequel. In fact, this ane eliminates the bad solo guy singing and replaces them with Lily James who is an energetic eager performer with a better voice. I don't listen the Cher sections although it wants to exist more epic than I can take. I don't like the artificial daylight background at the villa which accentuates a bad imitation look compared to the real Greek island. There is ane moment when villa falls apart during storms in both timelines. At that moment, I tin can see 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 recollect it would really heighten the emotional affect if Lily James meets Amanda Seyfried then turns into Meryl Streep. The boyfriend isn't much and would be more dramatic if he goes away. As a musical, at that place are still a few famous ABBA songs to mine although there are others that I don't recognize. It's vivid. It's chipper. Information technology is a fitting sequel to the kickoff flick.
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joy
It is the bones purpose of this nostalgic one-act. All is known. But the humor and the science of entertainment works in nifty style. Its importance - to be the expected sequel. The basic trait - it is but funny. Scene by scene, dialogue by dialogue. Non every bit lesson of life. Maybe, equally recipe of freedom. So, see it !
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Argh!
This is the first movie I have seen, whose title not only tells yous exactly what you will come across, but serves as my opinion of it.
This review offers nigh fifty characters more than this movie deserves.
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Succeeds with everything that the first did not
Alarm: Spoilers
"Mamma Mia! Here We Go Over again" is equally the title already gives away the sequel to the 2008 Abba tribute movie "Mamma Mia". This new one here runs for slightly under 2 hours and information technology brings dorsum nearly of the cast members from said original movie. And as for the latter, I must say that I am non a great fan at all to exist honest. Notwithstanding I read this new one got ameliorate reception and reviews and then I idea why not give it a go. After all, I really like some of ABBA'due south stuff. And I was very positively surprised. Like I wrote in the championship, this one hither does everything right in these areas where the original film comes relatively short, gently-speaking, regardless if nosotros are talking almost the one-act, the music, the story or the acting. Or the performances to be more precise. I think at that place were some actually practiced ones hither and the worst were perhaps on the level of the best performances 10 years agone. You could see that they were really casting with focus on music too, particularly when it came to picking those who play the characters when they were young. And in that location I am speaking already about a major component from this movie, which is that the film in good onetime Godfather 2 way is a sequel that also takes usa back several decades into the past. Meryl Streep's version of Donna may exist gone (really bold selection by author and managing director Ol Parker), simply don't think there is no Donna in here. She is inevitably linked to the franchise of form. Nonetheless, I thought overall that the "now" convinced me more than the past. Only that is of course subjective. Lily James and the other actors from the old sequences do a fine job equally well. Only the biggest thumbs-up goes to Amanda Seyfried for sure. I am never too sure how much I like her, but she did really great, especially in the music sequences. Her very first vocal, which is also the offset song of the film, was a delight already and it stayed that way every fourth dimension she was about to sing. This includes the film's number 1 highlight, a duet named "1 of U.s.a." where ABBA is for one time at their saddest, non at their fastest or almost delightful like with songs such as "Mamma Mia" who may have a serious undertone, just all the same plow out full of bulldoze and power.
One thing I did non like that much, but information technology's actually just a minor criticism, is how Dominic Cooper was left out almost entirely apart from the early phone conversation and while Firth and Skarsgård got their return story, he did not. Pity his name was not considered large enough for that. Also his sudden comeback story with all his love existence at that place again was kinda meh given what he said during the phone call. It is what it is I guess. And then there is Cher of course, heavily featured in the trailer, but yeah, she does not practise too much apart from being herself basically towards the terminate. Simply I read she has plans to release a total anthology with ABBA songs now after this film and I'd beloved to hear that. The scene with Streep at the very end was sugariness nonetheless and I thought it was a nice care for for everybody who enjoyed the original movie more than I did. Shame I did not because otherwise this could have moved me to tears, that's how practiced it was. What else can you say. Well peradventure absolutely everybody was getting their man somehow and it was a fleck too much of a forced happy catastrophe perhaps, but information technology's okay, somehow it fit the film'south tone and 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 guess. I could write a lot more about the moving picture, merely I just echo myself that this was a actually positive surprise and one of the best 2018 movies I've seen. We'll see if information technology gets some awards attention at the Golden Globes for case. It definitely should if the first did. Also information technology gives a actually good overview of some of ABBA'southward very finest, and then information technology's not too surprising to see some of the band members as producers here. I am not besides sure how important it is to have seen the first to appreciate this ane, maybe helps, but it's not essential you could say. So sentry this i here in any case, mayhap afterwards skipping the first. Simply if you have seen the first and sat through that i, so really don't miss out on this one hither, especially for as long equally information technology is yet in theaters because I recollect information technology is a much better lookout on the big screen. Huge thumbs-upward. Highly recommended.
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Money, Money, Coin
Mamma Mia! Here We Get Once again is a musical sequel that has a stretched story focusing on the immature Donna and how she encountered her iii men. Fifty-fifty though we did see those scenes in the beginning movie.
The film starts with Sophie (Amanda Seyfried) refurbishing her Greek isle Hotel. Donna has passed abroad. Sky is in New York learning the hotel business organisation and things do non seem to be going well between them.
For the grand opening of the hotel in honour of her female parent, Sophie has invited her three dads and her mother's best friends.
The main part 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.
It required three writers to come upwards with the story concept. The story is admittedly sparse. The new songs are ok. Cher just looks odd when she makes her belated advent as Sophie's grandmother. She looks like someone who has just turned up for the pay cheque and decided to do an album of Abba covers out of it.
The Abba songs keep it entertaining but this picture stinks of a cash grab.
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Mamma Mia! Here We Go Again
Warning: Spoilers
I debated whether I wanted to see the sequel at the movie house, but then I watched the original again and I had much more fun, and I saw flick critic Mark Kermode enjoyed information technology, so I merely went along with and hoped to have fun. Basically Sophie Sheridan (Amanda Seyfried) is preparing for the thousand reopening of the hotel formerly owned past her female parent Donna (Meryl Streep), who passed away a twelvemonth agone (in unknown circumstances). She is sad that two of her fathers, Harry Brilliant (Colin Firth) and Pecker Anderson (Stellan Skarsgård), are unable to arrive, and she is problem in her spousal relationship to Heaven (Dominic Cooper), who is in New York. It flashes back to 1979, to encounter young Donna (Lily James) graduating from Oxford, along with her friends and Dynamos bandmates Tanya (Jessica Keenan Wynn) and Rosie (Alexa Davies). Donna gets gear up to travel the world, while in Paris, French republic, she meets and has a relationship with Harry (Hugh Skinner). She later on misses her boat to Kalokairi, but sailor Pecker (Josh Dylan) offers her a ride, and along the way they help a stranded fisherman make it to stop the love of his life marrying another man. Unbeknownst to Donna, Harry has followed her to Greece, simply he is too late and watches as she sails off into the distance. In the present, (Tanya Christine Baranski) and Rosie (Julie Walters) arrive to support Sophie with the reopening, it is revealed that Rosie and Bill accept split up. Sophie visits Sam (Pierce Brosnan), who is still grieving over the passing of Donna. Dorsum in the by, Donna arrives on the island and explores a farmhouse, during a sudden storm, a young Sam (Jeremy Irvine) riding his motorcycle helps her to rescue a spooked equus caballus from the house basement. Back to the present, a sudden tempest has caused serious disruption to Sophie's plans for the yard reopening and prevented media coverage of the event. Back in the past, Donna and Sam are enjoying a whirlwind romance, merely then Donna discovers a photograph of Sam's fiancée, she tells him to leave the island. In the nowadays, Sam reassures Sophie the reopening will go ahead, meanwhile Harry walks out of concern deal in Tokyo to back up Sophie, and Nib gets his twin brother Kurt to accept his identify for an award acceptance. Nib and Harry meet at the docks, simply in that location are no boats, merely Nib meets Alexio (Gerard Monaco), the fisherman he helped those years agone, he secures them a gunkhole, as well every bit for newly arrived Sky. In the past, a depressed Donna is heartbroken about Sam, she meets Beak again and they spend fourth dimension together on his boat. While they are gone, Sam returns, later on ending his engagement for Donna, he is saddened to hear that is with some other homo and leaves the island. Donna discovers she is pregnant, she has no idea which of her recent lovers is the father, local bar possessor Sophia (Maria Vacratsis) overhears that she wishes to stay on the isle, she offers to allow her live in the farmhouse, Donna happily accepts, and information technology is there that she gives birth to Sophie. Back in the present, boats filled with guests arrive for the party, Sophie is reunited with her other two fathers and Sky, she reveals to him that she is meaning, and feels closer to her mother, understanding what she went through. While Bill and Rosie reunite over their grief for Donna, Sophie'southward estranged grandmother and Donna's mother Carmine (Cher), despite having no invitation, arrives, she reveals that Sky tracked her downward in New York and wants to build a relationship with Sophie. Sophie then performs a song with Tanya and Rosie in award of her female parent, later on which Crimson tearfully tells her how proud she is of her. It is revealed that the managing director of the hotel, Fernando Cienfuegos (Andy Garcia), is Cherry-red'southward ex-lover from years agone, the two are joyously reunited. Ix months later, Sophie has given nascency to a baby boy, everyone is gathered in the chapel for the christening, the ceremony takes place with Donna'southward spirit watching over her daughter with pride. Finally, all the characters, in their old and young guises, gather together to sing at the Hotel Bella Donna party. Also starring Celia Imrie every bit Vice-Chancellor, Omid Djalili equally a Greek community officeholder, ABBA'southward Björn Ulvaeus equally an Oxford professor and ABBA's Benny Andersson as "Waterloo" pianoforte thespian. Featuring all the ABBA hits "When I Kissed the Teacher", "Ane of United states of america", "Waterloo", "Why Did It Have to Be Me?", "I Take 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 Honey, 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 movie was ABBA Gilt, and so this More than ABBA Golden, featuring lesser known songs. The story structure is just like The Godfather Role 2, mixing the past with the present, as before you tin can ignore whatsoever 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, just about as enjoyable as the first motion-picture show, a fun jukebox musical romantic comedy. It was nominated the Gilt Globe for Best Motility Picture - Comedy or Musical. Good!
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A solid sequel to a surprise striking
This sequel takes identify a yr after the death of Donna. Her daughter Sophie plans to reopen her mother'southward hotel, on a Greek island, unfortunately it looks as if neither her 3 fathers nor her hubby will be able to nourish the opening political party. Intertwined with scenes of her preparing for the reopening nosotros see how her mother came to the island all those years ago... and how she encountered the iii men who are Sophie's fathers. Of course at every possible opportunity the cast sing an appropriate ABBA vocal.
If you didn't savor 'Mamma Mia' y'all certainly won't bask this every bit it is more of the aforementioned; this of course ways if yous did enjoy the first you are likely to enjoy this too. The story is fairly uncomplicated but it is fun; peculiarly the flashback scenes of Donna making her way to the island and meeting the younger versions of the 'three fathers' for the first time. The songs are fun even if things are stretched a flake to justify the inclusion of some well-known songs... particularly 'Fernando'. Of class the songs are a lot of fun, even the less well-known ones. The cast does a fine job and are clearly having fun; Lily James stands out as the immature Donna. The setting, with its cute settings and mostly fine weather, merely add together to the pleasure provided by the motion picture. Overall I'd say this won't be for everybody but it is good cheesy fun if you enjoy that sort of thing... and I did, more than I expected.
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X years afterward, this fills in the back story.
My married woman and I watched this at abode on DVD from our public library. Can yous believe information technology has been x years since "Mamma Mia" came out?
In the 2008 movie nosotros learn that adult Donna, who runs the pocket-size hotel on the Greek island, had romantic encounters with 3 different men 21 years before and wasn't certain which was the actual father of her daughter. So they all showed up in that story, sharing the fatherly roles.
In this motion-picture show nosotros see a young Donna just finishing college so going off to see the globe a bit, eventually landing on the Greek island. So the movie has a series of actors, immature and old, playing each key character equally the younger and older counterparts.
Lily James is sufficient as Young Donna, her acting is skillful and her singing is just passable, equally are most of the cast. This is a musical, all the characters sing. Meryl Streep just barely shows up at the end, equally a vision her daughter is having, and does a beautiful song. Streep is clearly the best singer in this cast, although Cher as the grandmother performs well. Interestingly Cher who plays Donna's mother is but 3 years older than Streep.
Anyway nosotros enjoyed information technology. The story and the picture show are pretty quickly forgettable but for those in the mood it is an entertaining almost ii hours.
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I actually liked Mamma Mia! Here We Go Over again a little meliorate than its predecessor
Information technology'south now been ten years after the film version of the original Mamma Mia! phase musical of ABBA songs came out. I reviewed that ane on this site dorsum in January 2009 and mentioned enjoying information technology very much despite the shallow plot and characterizations. For some reason, when watching this sequel with my movie theatre-working friend, I felt a little differently and at present feel the characterizations and the plot-which goes back and along between the daughter Sophie reopening her mom'southward hotel after said parent's passing and Donna when she was just going out on her own later college graduation-was better divers and believable. Me and my friend were just enjoying not only the characters and the plot simply also the ABBA songs picked for this one of which non many of the tunes were hit singles this time around. There were likewise a couple of nice surprises at the terminate, and oh, this time Pierce Brosnan only sang once solo and he'due south a lilliputian depression-primal here to a better upshot! Really, I had a much wonderful time with my friend watching this in a theatre and so close to the screen so on that notation, I highly recommend Mamma Mia! Here We Get Again.
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Here we go again!
Warning: Spoilers
Is it a sequel, is it a prequel? In all honesty it's a chip of both, and just as much fun equally the first movie.
With an entertaining cast (the younger versions of whom are well bandage likewise) and of course the legendary ABBA music, this is an entertaining film indeed.
I would urge them to end at 2 films now though.
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A light hearted and fun moving-picture show
This picture is fun and light hearted. It has a lot of music, but doesn't experience similar an extended music video. Three scenery is beautiful, and it's great to see and then many famous faces. It's obvious from the lighting that many outdoor scenes weren't filmed outdoors, but I'm not complaining.
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Meat ball
Funny movie. I like the bit 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. Then information technology flashes back to Donna as a young girl (Lily James) meeting the three men who become Sophie's father. As with the first there's enough of cracking ABBA songs on the soundtrack.
This movie has a lot going for it. Great songs, big beautiful production numbers, a good cast...but it doesn't work. The death of a main character (Donna) hangs over the movie. It'southward night and downright depressing. Boring-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 office is little more than than an extended cameo. Also Andy Garcia is on hand looking terrible. The new young cast is certainly attractive simply given no fourth dimension to develop their characters. Dreary, dark and depressing. Skip it.
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Dissimilar and the same
Warning: Spoilers
Sophie is masterminding a revamp of the hotel on Kalikairi, only the grand re-opening may non become as well as she hoped - she wonders how her mother coped, and so Donna's backstory unfolds for united states.
10 years ago I took my 81-twelvemonth one-time female parent to see the cheesy but improbably joyous Mamma Mia at the cinema - she and my male parent fell in dear with it, and nonetheless scout information technology oftentimes. She is now pushing 92 only, with the aid of a borrowed wheelchair, made the trip to the cinema to see the follow-upwards - part sequel and office prequel - and loved it.
I think it'south a improve motion-picture show than the original - it'south certainly a more solid story - albeit that unexpected sheer joyfulness coupled with Meryl Streep's deeply emotional performance doesn't - can't - burst upon the audience with all the surprise of the first film.
And the selections from the Abba catalogue are, of necessity, the lesser hits and the deeper cuts. This doesn't matter. They are all well tailored to the story (or, perhaps, 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. So yous don't sit there waiting for them.
The backstory is intercut with the present day. The "Then" cast are saddled with the horrible job of playing parts which have already been established in a pic which features the original actors playing those parts one time more. The lads are OK, but the ii girls do well. Lily James as Donna doesn't play Meryl Streep, only her charm and verve mean that she commands the screen in her own correct.
We came out of the movie house quite pleased that the filmmakers had managed to recapture a sense of joy while doing something rather different to what we might have expected.
And I shan't be spoilering the flick'southward big secret. You didn't hear it from me.
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a look dorsum
Greetings once more from the darkness. It's been 10 years since director Phyllida Lloyd presented the oversupply-pleasing MAMMA MIA! movie. It was a box office hitting (over $600 million worldwide) and was, for a few years, the highest grossing musical of all-time. Well-nigh importantly, it was extremely entertaining and a joyous cinematic romp for viewers. This year'due south sequel is directed by Ol Parker (THE All-time EXOTIC MARIGOLD HOTEL and husband to actress Thandie Newton), and though the melancholy is slathered on a bit likewise thick, it also 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 preparation for the upcoming Grand Opening. Information technology's named Hotel Bella Donna in honor of Sophie's mother (Meryl Streep). What looks to be a straight-forward story surprises us with a flashback to Donna's 1979 graduation, which features not only the starting time song-and-dance number "When I Kissed the Teacher", but also the first of two ABBA cameos ... Bjorn Ulvaeus every bit a professor. The immature Donna is played brilliantly by Lily James, and she effortlessly captures the free-spiritedness that led to the puzzler of the first movie - iii possible dads for Sophie.
Those 3 dads return not only equally Pierce Brosnan (Sam), Stellan Skarsgard (Bill), and Colin Firth (Harry), but besides as Jeremy Irvine (immature Sam), Josh Dylan (immature Bill), and Hugh Skinner (immature Harry). In fact, about of the run time is dedicated to the backstory of these characters and how they start met every bit youngsters. Each has a segment (and vocal) with young Harry featured in "Waterloo" accompanied by Benny Andersson (ABBA cameo #2) on piano. Immature Bill is the charming sailor who saves the day for Donna, while immature Sam assists her with saving a storm-shaken horse (kind of humorous since Mr. Irvine starred in War Equus caballus).
Besides back are Dominic Cooper as Sky, Sophie's true love, who tin't determine betwixt romance and career, and Donna's life-long friends Tanya (Christine Baranski) and Rosie (Julie Walters), who are also 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 manager, and drawing the biggest adulation of all ... Cher as Sophie's grandmother (and as my viewing partner commented, an early on peek at what Lady Gaga will look like every bit a grandma)! It'south best if yous feel Cher for yourself, and information technology should be noted that this is her first big screen advent since BURLESQUE in 2010.
Of course, the songs are cardinal and many of the ABBA numbers from the first motion-picture show are featured once again this fourth dimension. In particular, "Dancing Queen" is a nautical standout, and "Fernando" is a bear witness-stopper. While information technology may not be quite as raucous as the first, it'southward a treat watching Lily James, and there is a wonderful blending of "sometime" and "new" in the finale. The only real question remaining is, did the casting manager exercise the math before casting Cher (age 72) as Meryl Streep's (age 69) female parent?
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Even improve than the showtime i!
Allow's get the obvious out of the way: Meryl Streep is in this pic for five minutes. She may be front and center in the promotional affiche, and she may get the "and" in the credits, but she makes her entrance during the very last scene of the movie. The premise of this prequel/sequel is that her grapheme 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 thought this movie was going to be terrible, a empty-headed alibi to prance effectually and sing more than ABBA songs, alongside a thin plot that was described in five minutes during the original and didn't need more particular. But it'due south so much better than the first 1! Non constrained by the ill-fitting songs of the original Broadway musical that stuck numbers into scenes with no connexion to furthering the story, this flick actually puts songs in when they matter. There are a few overlaps of songs that were used in the first picture show, but the vast bulk of the songs are new (to the picture show, not to ABBA fans); and many of them take a more than somber tone that fit the story. "One of U.s." is sung by Amanda Seyfried and Dominic Cooper when they break up at the first of the picture. "I Wonder" (a smashing number that you'll only notice in the deleted scenes) is sung by Lily James as she heads off to have a European adventure after graduation.
The all-time part of the moving-picture show, and the reason information technology's infinitely improve than the first ane, is the respect the "younger cast" gives to the "older cast". While office of the plot is a sequel, v years afterwards the kickoff movie ended, with Amanda Seyfried planning a 1000 re-opening of the hotel with i of her dads, Pierce Brosnan, by her side, the master plot is a prequel, chronicling her mother's journeying to Hellenic republic and her encounter with three young men. In this extensive flashback, everyone was given a younger counterpart, and everyone did extensive inquiry. Lily James projects all of Meryl Streep's mannerisms from the first picture, Jeremy Irvine perfects Pierce Brosnan's emphasis, Hugh Skinner matches Colin Firth'southward hesitation and voice communication patterns, Josh Dylan is just as carefree and fun as Stellan Skarsgard, Alexa Davies puts in shoulder rolls and wacky movements to aqueduct Julie Walters, and Jessica Keenan Wynn seems similar someone put Christine Baranski in a time motorcar. It's wonderful to see the younger cast and the older cast in alternating scenes, and, just like the original, you can feel how much fun everyone had while filming.
While information technology'southward rude to option out one member amid the cast as the highlight, Lily James is such an adorable, likable sweetheart, she deserves an extra mention. It'southward no small task to make everyone in the audience forget they came to the theaters to see Meryl Streep, and even so to continually remind everyone that you're playing her younger counterpart. No offense to Miss Streep, but no one will miss her in this movie. With a bright, fresh, new actress on the screen who embodies the costless spirit of a time period that passed before she was built-in, it's just not possible to think anything'south missing from the leading lady of the motion picture. She's delightful, cute, sunny, frisky, and full of life. You lot might fifty-fifty puzzle as to where you've seen her earlier, since she'southward and then transformed from the famed cinder daughter, Churchill's secretary, and, most notably, the flapper cousin to the Granthams.
In that location's then much attending to item in this movie, and as someone who knows the first Mamma Mia like the back of my hand, I was able to appreciate all of it. Writer-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 guild of the relationships written in the diary from the first movie. This one makes then much more than sense, so only get with it. With fun, flashy colors, costumes, and on-location filming, every song and scene is enchanting.
Proceed in mind it's a drama. I may be an easy target, since I bawl my way through the first Mamma Mia every time Meryl Streep sings "Slipping Through My Fingers," only I cried twice as hard during this pic. In that location are a couple of songs that connect mother and daughter, and, depending on your level of sappiness, you'll need between one and 50 Kleenexes to become through them. In my opinion, information technology'south a great compliment to the flick if the audience cries. I wouldn't have cried then much if Lily James was unlikable or if the story wasn't interesting.
Trust me, fifty-fifty if you lot call up it's going to be empty-headed, yous've love it far more than than you thought possible. From songs that declare children the dear of a parent'south life, to big '70s hair, to finding home where you least expect it, to seeing everyone reunited x years after with jokes and winks to go around, this is a motion-picture show you'll want to spotter over and over once again. If you thought the end credits of the first movie were fun, y'all'll love the credits in these, as the older and younger people dance together and bask adorable pall calls. I know what I'm getting for Christmas-that, and a box of Kleenex.
DLM Alarm: If y'all suffer from vertigo or lightheaded spells, like my mom does, this movie might not be your friend. When Amanda Seyfried lies downward on her bed during "Ane of U.s.a." the camera spins around in a circle, and information technology will brand you sick. At that place'south some other circle during "Waterloo" right afterwards it shows the chorus woman in a wheelchair. A third spin is in the endmost credits during a grouping shot. In other words, "Don't Look, Mom!"
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If non 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 non-expert. That was casting genius. But the younger versions of the men were badly cast except for Jeremy Irvine of War Equus caballus who is okay. The young Nib and Harry are and then 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 accelerate the plot.
The filming was in Croatia and the lush vegetation and sandstone buildings wait like Republic of croatia not Greece.
I of the few proficient points was that the story quite satisfyingly explained how she slept with the three men in pretty quick succession without existence sleazy.
Ane of the almost plus points was that Meryl wasn't in near of this movie. When she finally reappears she drags things downwardly to a substandard level. She ruined the first picture. Cher is so much better than her.
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Infectious summer fluff. The music volition take y'all dancing.
If you know the basic plot covering both Mamma Mia!s, namely that young Sophie (Amanda Seyfried) is the daughter of deceased Donna (Meryl Streep), and so you'll wade through happily the many strands of flashbacks that are cutting so swiftly you'll wait for ABBA'south songs for relief. Mamma Mia! Here We Go Again gives back story aplenty with songs that even from the 70's are yet vibrant.
Consider "When I Kissed the Teacher" and "Andante, Andante" for merely two melodic pop tunes fitting into another screen version of what started as a Broadway musical. Try to forget Pierce Brosnan singing "When all is said and washed" in the outset Momma Mia! In this one he'southward mercifully given only a few lines to sing. Almost anybody else can comport a tune and dance nicely, thank you.
More than amazing is shoehorning "Waterloo" into a plot that wouldn't seem compatible. But it is, and the number is visually splendid. Consider also their inserting over-the-meridian Cher as grandma from her arrival by copter, her platinum wig, and waxen face to her rendition of "Fernando" with a game Andy Garcia. Worth the toll.
Of course with this mash upwards of Abba romantic songs and the brunt of figuring out which actor is which version of an original character, y'all somewhen done the two hours and are costless to call up of your own family unit tree, without the soap opera flourishes. Refurbishing Donna's old firm gives daughter and movie a reason to be excited.
The musical has an infectious spirit that percolates when the older characters are center stage. Something about Colin Firth and Meryl Streep, for just two examples, reminds me of the charisma a mature star tin can bring that younger, handsomer, hipper actors can't achieve. No carping, however, can erase the beautiful Greek island background, ridiculously sloppy, romantic plot, and actors born to be showcased for their looks and for most, except Brosnan, their musical talent.
Summer'southward bounty, no more or less.
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A Haunted House Sequel of The Original
Warning: Spoilers
At that place are good things most this musical comedy. The locations used in Croatia look fabulous. The Graduation seen at Oxford, Britain reminds me much of Professor Wagstaff's 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 higher education. That is the only reason why it doesn't get as much aclaim equally Duck Soup. )
Another practiced affair is the crossing of 3 generations or then in the cast. The idea here is to continue the story and try to get all ages interested it it. A fair part of the cast is really quite erstwhile. 72 Yr Old Cher looks very heavy both in girth and in the brand up department. It is likewise unclear why she is even there other than to do the one song. I as well wonder if CGI is used along with brand-up on Cher as her neck has no wrinkles which is truly amazing.
Meryl Streep at historic period 69 does not have equally much brand upward and really looks good for that age. I am glad to see the Grandparents, Parents, Kids and G 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 allocate this more than as a Musical than a one-act. Of course, the manner they present it I recall an episode of 79 year former Maury Povich needs to be 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 be risen from the expressionless, and more than women throwing themselves at men than the average motion picture. Women can throw themselves at METOO, I don't mind.
I think with a few lines and zingers, nosotros could make this a sequel to Halloween and bring in Jason as Cher's Ex-Grandpa. Information technology is entertaining and well staged. It's only a fleck out of the realm of being a musical that would bring back musicals and another summer of 2018 motion-picture show that falls brusk. (note- the Comedy in Ant Homo and The Wasp is much more on target than the humor in this musical, even though it gets shrunk).
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MAMMA MIA! Hither We Get Once again promises pure joy and Euro-pop feel-goodism to its core audition
Precisely x years later on its massively pop ancestor, this ABBA-jukebox musical sequel/prequel returns with a somber premise, our beloved protagonist Donna Sheridan (Streep) has kicked the bucket (does the pic even reveal the crusade of decease?), and passes the baton to her girl Sophie (Seyfried, thankfully bestowed with an ethereal voice), who is even so processing her grief and the sequel-story kicking-starts in the same Greek island of Kalokairi, where Sophie has a forthcoming reopening of Hotel Bella Donna to commemorate her mother with the help of the hotel manager Fernando (García).
Meantime, the film's prequel-narrative is rewound to 1979, recounting a immature Donna (James, spirited and ebulliently fleshes out the Streep-less narrative arc with her stentorian singing bent), freshly out of college, how she winds upward on the island and gets knocked up but cannot tell whose fortuitous sperm strikes gold, and decides to raise her child all on her ain. So apart from the old gang, even Streep has a glorified cameo nearly the end as a ghost reunited with Sophie during her infant granddaughter'southward christening ceremony, the cast is redoubled not simply by the initiation of the younger-cocky accomplice, Jessica Keenan Wynn and Alexa Davies evoke uncanny resemblances and share boggling exuberance with Christine Baranski and Julie Walters every bit Donna'south bestie Tanya and Rosie, and then and now, respectively, simply too by the much-hyped advent of Cher, Streep'due south SILKWOOD (1983) co-star, who perversely plays Donna'southward mother Ruby in another 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 information technology from its self-knowledge of a escapist potboiler, basks in photogenic landscape or seascape and its tricky tunage, MAMMA MIA! HERE WE Become Once more promises pure joy and Euro-pop experience-goodism to its cadre audition and writer-managing director Ol Parker attests to be an able hand in coordinating and segueing between two story-lines, together with a faculty for choreographic deployment.
As much as the cast enjoys a helluva shindig and disseminates an infectious jag of joviality to ascertain audience are having a good time either, a takeaway reconsideration pops up unexpectedly by positing a morbid if entirely irrelevant presumption, how can we adjust ourselves when one day we will truly lose our national treasure similar Meryl Streep and her ilks? Such a dreadful thought, mayhap, seeing things through blue-colored spectacles is this reviewer'south kryptonite.
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I could care less about any of the characters in either film, or any of their drama, but I love ABBA though!
'MAMA MIA! HERE WE GO AGAIN': 2 and a Half Stars (Out of Five)
A sequel/prequel to the hit 2008 jukebox musical comedy (based on the 1999 musical of the same proper noun). The movie is again filled with music by the band ABBA, and information technology was written and directed (this time) by Ol Parker. It tells the story of how Sophie'due south mother became pregnant with her, while Sophie is now dealing with pregnancy herself. The picture 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 brief cameo). It's received mostly positive reviews from critics (unlike it'due south predecessor), and it'southward another big hit at the Box Office too (much similar the original). I liked information technology merely about as much as I did the first movie, which isn't much.
The story takes place five years after the events of the original, and Sophie (Seyfried) is at present significant herself. While dealing with this news, she reminisces about the life of her (now) deceased female parent, Donna (Streep); when Donna was younger (James) and became pregnant with her. The motion-picture show explains how Donna met Sophie'due south three possible dads (Irvine, Skinner and Dylan), and the romances that developed with each of them. The entire affair is of course played out (one time again) while characters are singing and dancing to ABBA tunes.
I like the ring ABBA (I have their 'Best Of'' CD), and I exercise similar the music in both films. I too like musicals, sometimes a lot. These films are just so cheesy and cliched though. They're totally uninvolving also; I could intendance less about any of the characters in either moving picture, or whatsoever of their drama. The music is of course fun to hear though. Fans of ABBA, and musicals, volition probably observe it enjoyable plenty (peculiarly if y'all like the first motion-picture show).
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Abba 'nother one
Okay and then this ane I took for the team, accompanying my wife to this second film featuring the music of one of her favourite groups. My opinion of Abba'southward music is that when they're expert they're very good simply when they're bad they're dire. Apparently the get-go flick, based on the phase show, employed all the mostly very good "Abba Gold" greatest hits while here there are quite a lot of second division tunes only their most devoted fans will know. "Kisses Of Fire", "Andante Andante", "When I Kissed The Teacher" anyone?
The producers seem to acknowledge this weakness by repeating some of their biggest hits which had evidently already been in the first movie such equally "Waterloo", "Knowing Me Knowing You", the inevitable "Dancing Queen" and snippets of many others too.
The storyline is as flimsy equally earlier and actually merely a contrivance to get all the original characters reunited in front of the cameras in brilliant outdoor settings. A few new characters do testify up virtually notably Cher who delivers a surprisingly good version of both "Fernando" and "Super Trouper " to give the film a lift at the end.
There are some nifty and inventive camera tricks which help the flow of the film whilst the humour is as girlie and occasionally risque as you'd expect - clearly the film makers know their audience.
Anyhow information technology'due south all very bright , tuneful, happy and entertaining in a lightweight sentimental mode, every bit you'd expect and my wife, well she absolutely loved information technology.
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Terrbile movie it may be but this is glorious fun.
Like the outset one it is, of course, critic-proof, (Meryl knew that when she agreed to put in a cameo appearance and Cher knew information technology when she saw a chance to resurrect her career at the age of seventy-2). There are times when it resembles zip more than gay night at the pantomime, (and if you thought the first one was gay wait until you see this one), merely it would be churlish to endeavour to resist it and, to be fair, this is by far the better flick. Nosotros are talking, of course, about "Mamma Mia; Here We Go Again", the sequel/prequel to the motion-picture show version of the stage show that has been playing somewhere in the world for what seems an eternity.
The kickoff flick worked considering 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 it was also undeniably skilful fun and there were fifty-fifty a couple of times when information technology didn't seem and then terrible at all. I enjoyed it while recognizing every ane of its faults but I dreaded this follow-upwards. Surely all the best songs had already been used up, I idea. Isn't this just cashing in on the success of the original?
Well, yep and no. It was obvious to anyone with a encephalon that they were on to a skillful matter then why not come up up with another 'story', however flimsy. The plot is only how did Donna meet the men in her life and how come she couldn't be certain first fourth dimension around who the male parent of her child was. Information technology isn't much of an idea to hang a whole movie on so let'southward take her daughter Sophia plan a big reopening of Donna's hotel, (Donna/Meryl has been dead a twelvemonth when the film opens), bringing together the bandage of the original, (as I said Meryl'southward appearance is reduced to a expert-natured cameo), while cross-cut between by 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 plain gay Hugh Skinner who seems to have mastered the art of playing fools. No matter, he's nonetheless the first to bed Miss James, losing his virginity in the process. Then far, so obvious but this time 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, past the time 'Dancing Queen' comes around resistance is futile and the movie becomes an elaborate political party, the kind you e'er hoped you'd be invited to. Of course, neither film will always be on anyone'southward list of all-fourth dimension great musicals merely even if you hate yourself in the morning, this is i party worth having a hangover for.
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How can you not enjoy this?
Look, I'g not going to sit here and say that these Mamma Mia films are proficient, but I undeniably bask them. At that place's just something special nearly a group of actors, not normally seen in these cheesy films, having the time of their life singing incredibly catchy popular songs and dancing their butts off. This flick is a sort of sequel and prequel combined (i'm non kidding when I say the producers were inspired by The Godfather Part 2) and it has a massive bandage, simply most notably Lily James as a immature Meryl Streep. Standing equally one of the nearly likable young actresses working today, James doesn't attempt to do a Meryl impression only certainly possesses the charisma that a young Streep did, all the while filling out the gaps of this characters past. The songs are great, the performances are mostly serviceable, the direction is always engaging, and the script is the skilful kind of cheesy. Oh, and the Dancing Queen sequence? Yeah, it's one of the best scenes of yr in moving picture. Yes, I just said that.
eight.ii/10
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Source: https://www.imdb.com/title/tt6911608/reviews
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