Mamma Mia! Here We Go Again*123 Movies
Journey to the past
'Mamma Mia!' is a very marmite film, with people either loving it or hating it. To me, it was something of a mixed bag with me neither loving or hating information technology. It does a lot right (the product values, the music, some product numbers and most 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, 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! Here We Go Again' has a number of strengths and did entertain me (the singing is also an improvement), but once more serious reservations (a few of them the same as 'Mamma Mia!' but done worse).
Starting with what 'Mamma Mia! Here We Get Once again' does right, it is stunning visually. It is beautifully shot and the locations are exquisite and makes i want to volume a vacation there. The songs, while not plumbing equipment into the story line besides as 'Mamma Mia', are just nifty, 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 information technology feels like we're watching Cher performing at a concert rather than here featuring in a movie) and "My Love, My Life" (will acknowledge that the tears rolled, accept tissues at the ready).
Choreography has glitz, professionalism and energy, not feeling overblown. "Dancing Queen" is ballsy, while "Waterloo" hasn't lost the energy that was brought into the vocal in 'Mamma Mia!'. "Fernando" and "My Love, My Life" were unforgettably staged besides. At that place is a lot of energy in the musical numbers, some charm and there 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 performance. 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 brusk. Christine Baranski and Julie Walters take nice moments, and Omid Djalili is a scene stealer. Didn't mind Pierce Brosnan having not much to practise, being one of many people who disliked him and his infamous rendition of "Southward.O.Due south" in 'Mamma Mia!'.
He did seem tired hither and Colin Firth and Stellen Skarsgaard are criminally underused. Alexa Davis overdoes it, with her emotions bordering 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 commitment, also found her presence more often than not unnecessary and non adding much. The younger male person cast are competent simply somewhat banal.
The story is even thinner than in 'Mamma Mia!' and in the non-musical number scenes the energy flags badly and come over every bit flat, Ol Parker'southward workmanlike at best and sometimes lethargic direction in these scenes don't help. The older/adult bandage have far too piddling to do, 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 as well and going well overboard on the froth. At that place are inconsistencies galore and the dual timeline, which a nice idea, gets confusing in places.
Overall, a very mixed bag. Far from terrible, a long way from great. 5.five-6/10 Bethany Cox
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More Mamma Mia
Sophie (Amanda Seyfried) is reopening the Greek island villa resort in honor of her tardily mother 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), forth with many others for the reopening. She decides non to invite her grandma (Cher). The movie besides follows young Donna (Lily James) as she travels through Europe meeting her three boys and falling in honey with a rundown villa on a Greek island.
If y'all love the beginning moving picture, there is nothing not to love in this sequel. In fact, this 1 eliminates the bad solo guy singing and replaces them with Lily James who is an energetic eager performer with a better vocalisation. I don't mind the Cher sections although it wants to exist more epic than I can take. I don't similar the artificial daylight background at the villa which accentuates a bad false wait compared to the real Greek island. There is i moment when villa falls autonomously during storms in both timelines. At that moment, I tin run into a more compelling plot device where both stories are mirror images of each other told at the aforementioned pacing with both bandage doing the aforementioned songs. Information technology doesn't mitigate the greatness of the climatic meeting in the church. I think it would actually heighten the emotional impact if Lily James meets Amanda Seyfried and then turns into Meryl Streep. The boyfriend isn't much and would be more dramatic if he goes away. As a musical, there are notwithstanding a few famous ABBA songs to mine although at that place are others that I don't recognize. It's bright. It's chipper. Information technology is a fitting sequel to the first movie.
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joy
It is the bones purpose of this nostalgic comedy. All is known. But the humor and the scientific discipline of amusement works in great style. Its importance - to be the expected sequel. The bones trait - it is just funny. Scene past scene, dialogue by dialogue. Non as lesson of life. Perhaps, every bit recipe of liberty. So, see it !
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Argh!
This is the first movie I have seen, whose title non just tells you exactly what you will meet, but serves equally my opinion of it.
This review offers about fifty characters more this movie deserves.
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Succeeds with everything that the first did non
Warning: Spoilers
"Mamma Mia! Here Nosotros Go Again" is equally the title already gives away the sequel to the 2008 Abba tribute picture "Mamma Mia". This new one here runs for slightly under 2 hours and it brings back most of the cast members from said original movie. And equally for the latter, I must say that I am not a great fan at all to be honest. Even so I read this new one got better reception and reviews then I thought why not requite information technology a go. Later all, I really like some of ABBA'due south stuff. And I was very positively surprised. Like I wrote in the championship, this ane here does everything right in these areas where the original flick comes relatively short, gently-speaking, regardless if nosotros are talking near the one-act, the music, the story or the interim. Or the performances to be more precise. I think at that place were some really good ones here and the worst were maybe on the level of the all-time performances 10 years ago. You could see that they were really casting with focus on music too, especially when it came to picking those who play the characters when they were young. And there I am speaking already virtually a major component from this film, which is that the pic in good old Godfather two manner is a sequel that also takes us back several decades into the past. Meryl Streep's version of Donna may exist gone (really assuming pick by writer and director Ol Parker), merely don't think there is no Donna in hither. She is inevitably linked to the franchise of course. Nonetheless, I idea overall that the "now" convinced me more than the past. Merely that is of class subjective. Lily James and the other actors from the one-time sequences do a fine task also. But the biggest thumbs-up goes to Amanda Seyfried for sure. I am never as well sure how much I like her, but she did actually dandy, especially in the music sequences. Her very kickoff song, which is also the first vocal of the flick, was a please already and information technology stayed that style every time she was nigh to sing. This includes the motion-picture show's number 1 highlight, a duet named "1 of Usa" where ABBA is for once at their saddest, not at their fastest or most delightful like with songs such as "Mamma Mia" who may have a serious undertone, but yet turn out total of drive and power.
1 thing I did not like that much, but it's really only a pocket-sized criticism, is how Dominic Cooper was left out most entirely apart from the early telephone conversation and while Firth and Skarsgård got their render story, he did not. Pity his name was non considered big enough for that. Also his sudden comeback story with all his love being in that location again was kinda meh given what he said during the phone telephone call. It is what it is I estimate. And and so 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 cease. Merely I read she has plans to release a full album with ABBA songs now after this film and I'd beloved to hear that. The scene with Streep at the very end was sweet notwithstanding and I thought information technology was a prissy care for for everybody who enjoyed the original moving picture more than I did. Shame I did not because otherwise this could have moved me to tears, that'southward how adept information technology was. What else can you say. Well mayhap absolutely everybody was getting their man somehow and it was a bit as well much of a forced happy ending perhaps, but information technology'south okay, somehow information technology fit the motion-picture show's tone and then it's fine. And yep 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 movie, just I only repeat myself that this was a actually positive surprise and one of the best 2018 movies I've seen. We'll see if it gets some awards attention at the Gilt Globes for example. It definitely should if the commencement did. Also it gives a really expert overview of some of ABBA'south very finest, so it'due south not too surprising to see some of the band members equally producers hither. I am not likewise sure how important it is to have seen the first to appreciate this one, peradventure helps, simply it's non essential y'all could say. So picket this i here in whatever case, maybe after skipping the get-go. Only if yous accept seen the first and saturday through that one, then actually don't miss out on this one here, specially for every bit long as it is still in theaters because I call up it is a much amend picket on the big screen. Huge thumbs-up. Highly recommended.
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Coin, Coin, Money
Mamma Mia! Hither We Go Again is a musical sequel that has a stretched story focusing on the immature Donna and how she encountered her three men. Even though nosotros did see those scenes in the get-go 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 concern and things do not seem to be going well between them.
For the thou opening of the hotel in honour of her mother, Sophie has invited her iii dads and her mother'south best friends.
The main part of the story is seeing the young Donna (Lily James) travelling through Europe after graduating at university. Some of the scenes switch with that of Sophie.
It required three writers to come upwardly with the story concept. The story is absolutely thin. The new songs are ok. Cher just looks odd when she makes her belated appearance as Sophie'due south grandmother. She looks like someone who has only turned up for the pay bank check and decided to do an album of Abba covers out of information technology.
The Abba songs proceed it entertaining merely this picture show stinks of a cash grab.
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Mamma Mia! Here We Go Once more
Warning: Spoilers
I debated whether I wanted to see the sequel at the cinema, simply and so I watched the original again and I had much more fun, and I saw motion-picture show critic Marker Kermode enjoyed it, and so I just went along 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 pitiful that ii of her fathers, Harry Brilliant (Colin Firth) and Bill Anderson (Stellan Skarsgård), are unable to make information technology, and she is trouble in her marriage to Sky (Dominic Cooper), who is in New York. It flashes back to 1979, to see young Donna (Lily James) graduating from Oxford, along with her friends and Dynamos bandmates Tanya (Jessica Keenan Wynn) and Rosie (Alexa Davies). Donna gets ready to travel the globe, while in Paris, France, she meets and has a human relationship with Harry (Hugh Skinner). She later misses her boat to Kalokairi, but sailor Bill (Josh Dylan) offers her a ride, and along the style they help a stranded fisherman make information technology to finish the beloved of his life marrying another homo. Unbeknownst to Donna, Harry has followed her to Hellenic republic, but he is as well late and watches as she sails off into the distance. In the present, (Tanya Christine Baranski) and Rosie (Julie Walters) arrive to back up Sophie with the reopening, information technology is revealed that Rosie and Bill have dissever up. Sophie visits Sam (Pierce Brosnan), who is still grieving over the passing of Donna. Back in the past, Donna arrives on the isle and explores a farmhouse, during a sudden tempest, a immature Sam (Jeremy Irvine) riding his motorcycle helps her to rescue a spooked equus caballus from the house basement. Back to the present, a sudden storm has acquired serious disruption to Sophie's plans for the grand reopening and prevented media coverage of the event. Back in the past, Donna and Sam are enjoying a cyclone romance, but then Donna discovers a photo of Sam's fiancée, she tells him to leave the island. In the present, Sam reassures Sophie the reopening volition go ahead, meanwhile Harry walks out of business organisation deal in Tokyo to support Sophie, and Neb gets his twin brother Kurt to have his identify for an award credence. Bill and Harry encounter at the docks, but there are no boats, but Bill meets Alexio (Gerard Monaco), the fisherman he helped those years agone, he secures them a boat, as well as for newly arrived Heaven. In the past, a depressed Donna is heartbroken about Sam, she meets Bill once more and they spend fourth dimension together on his gunkhole. While they are gone, Sam returns, after ending 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 birth to Sophie. Back in the present, boats filled with guests arrive for the political party, Sophie is reunited with her other two fathers and Sky, she reveals to him that she is pregnant, and feels closer to her mother, understanding what she went through. While Bill and Rosie reunite over their grief for Donna, Sophie'south estranged grandmother and Donna'south mother Ruby (Cher), despite having no invitation, arrives, she reveals that Sky tracked her down in New York and wants to build a relationship with Sophie. Sophie then performs a song with Tanya and Rosie in laurels of her mother, after which Ruby tearfully tells her how proud she is of her. Information technology is revealed that the manager of the hotel, Fernando Cienfuegos (Andy Garcia), is Ruby's ex-lover from years ago, the ii are joyously reunited. Nine months later, Sophie has given birth to a babe boy, everyone is gathered in the chapel for the christening, the ceremony takes place with Donna's spirit watching over her daughter with pride. Finally, all the characters, in their old and young guises, get together together to sing at the Hotel Bella Donna party. Likewise starring Celia Imrie every bit Vice-Chancellor, Omid Djalili as a Greek customs officer, ABBA's Björn Ulvaeus as an Oxford professor and ABBA's Benny Andersson as "Waterloo" piano player. Featuring all the ABBA hits "When I Kissed the Instructor", "One of Us", "Waterloo", "Why Did It Accept to Be Me?", "I Take a Dream", "Kisses of Burn down", "Andante, Andante", "The Name of the Game", "Knowing Me, Knowing You", "Mamma Mia", "Affections Optics", "Dancing Queen", "I've Been Waiting for You", "Fernando", "My Love, My Life" and "Super Trouper". As earlier, all the actors do their all-time 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 commencement movie was ABBA Gold, then this More than ABBA Gold, featuring lesser known songs. The story structure is just similar The Godfather Role Ii, mixing the past with the present, as before you lot tin ignore any imperfections and get along with it, singing along with your favourites, and the "My Love, My Life" sequence cannot fail but accept y'all in floods of tears, just about as enjoyable as the kickoff movie, a fun jukebox musical romantic comedy. It was nominated the Gold Earth for All-time Picture show - Comedy or Musical. Practiced!
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A solid sequel to a surprise hit
This sequel takes identify a yr subsequently the death of Donna. Her daughter Sophie plans to reopen her mother's hotel, on a Greek island, unfortunately information technology looks every bit if neither her three fathers nor her married man will be 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 ago... and how she encountered the three men who are Sophie's fathers. Of course at every possible opportunity the cast sing an appropriate ABBA vocal.
If yous didn't enjoy 'Mamma Mia' you certainly won't savor this as it is more of the same; this of class means if you did enjoy the offset you lot are likely to savor this besides. The story is fairly simple simply it is fun; specially 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 chip to justify the inclusion of some well-known songs... specially 'Fernando'. Of course the songs are a lot of fun, even the less well-known ones. The bandage does a fine job and are clearly having fun; Lily James stands out every bit the young Donna. The setting, with its beautiful settings and more often than not fine weather condition, but add to the pleasure provided by the flick. Overall I'd say this won't exist for everybody but it is good cheesy fun if yous savor that sort of matter... and I did, more than I expected.
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Ten years afterward, this fills in the dorsum story.
My wife and I watched this at home on DVD from our public library. Tin you believe it has been 10 years since "Mamma Mia" came out?
In the 2008 movie we larn that developed Donna, who runs the minor hotel on the Greek isle, had romantic encounters with 3 different men 21 years earlier and wasn't certain which was the bodily father of her daughter. Then they all showed up in that story, sharing the fatherly roles.
In this motion-picture show we see a immature Donna just finishing college so going off to encounter the world a flake, eventually landing on the Greek island. So the movie has a series of actors, young and old, playing each key character as the younger and older counterparts.
Lily James is sufficient equally Young Donna, her interim is good and her singing is just passable, as are most of the bandage. This is a musical, all the characters sing. Meryl Streep only barely shows up at the end, as a vision her daughter is having, and does a beautiful song. Streep is clearly the best vocalist in this cast, although Cher as the grandmother performs well. Interestingly Cher who plays Donna's mother is simply 3 years older than Streep.
Anyway we enjoyed it. The story and the film are pretty quickly forgettable merely for those in the mood it is an entertaining almost 2 hours.
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I actually liked Mamma Mia! Here Nosotros Get Over again a fiddling better than its predecessor
It's at present been 10 years afterwards the movie 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 cinema-working friend, I felt a footling differently and now experience the characterizations and the plot-which goes back and forth betwixt the daughter Sophie reopening her mom'southward hotel after said parent's passing and Donna when she was just going out on her ain later on college graduation-was better defined and believable. Me and my friend were but enjoying not merely the characters and the plot but as well the ABBA songs picked for this one of which not many of the tunes were striking singles this time around. There were as well a couple of nice surprises at the end, and oh, this fourth dimension Pierce Brosnan only sang once solo and he's a niggling low-key here to a better issue! Really, I had a much wonderful time with my friend watching this in a theatre so close to the screen so on that note, I highly recommend Mamma Mia! Hither We Go Again.
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Here we become over again!
Alarm: Spoilers
Is it a sequel, is it a prequel? In all honesty it's a bit of both, and just as much fun as the first pic.
With an entertaining cast (the younger versions of whom are well cast too) and of course the legendary ABBA music, this is an entertaining picture indeed.
I would urge them to cease at two films now though.
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A lite hearted and fun film
This film is fun and light hearted. It has a lot of music, merely doesn't feel like an extended music video. Three scenery is beautiful, and it's great to run across so 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 brawl
Funny movie. I similar 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 dorsum to Donna as a young daughter (Lily James) coming together the 3 men who go Sophie'due south begetter. As with the outset there'south plenty of great ABBA songs on the soundtrack.
This movie has a lot going for it. Great songs, big beautiful production numbers, a good cast...just it doesn't piece of work. The expiry of a main character (Donna) hangs over the motion-picture show. It'south dark and downright depressing. Slow-moving too and the script is full of plot holes and inconsistencies. . The wonderful singing and dancing helps to a betoken. Also Cher's much publicized role is little more than an extended cameo. As well Andy Garcia is on hand looking terrible. The new young cast is certainly attractive but given no fourth dimension 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, simply the m re-opening may not go as well as she hoped - she wonders how her female parent coped, and and then Donna's backstory unfolds for united states of america.
ten years ago I took my 81-twelvemonth old mother to see the cheesy but improbably joyous Mamma Mia at the picture palace - she and my begetter cruel in dear with it, and still scout it frequently. She is now pushing 92 but, with the help of a borrowed wheelchair, fabricated the trip to the movie house to see the follow-upward - office sequel and part prequel - and loved it.
I remember information technology's a better film 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 motion picture.
And the selections from the Abba catalogue are, of necessity, the bottom hits and the deeper cuts. This doesn't matter. They are all well tailored to the story (or, mayhap, vice versa), and I marvel over again at what a deft lyricist Bjorn Ulvaeus was in his second linguistic communication.
Speaking of Ulvaeus, the Abba guys both cameo again, and early on on. So you don't sit in that location waiting for them.
The backstory is intercut with the nowadays twenty-four hours. The "Then" cast are saddled with the horrible task of playing parts which take already been established in a pic which features the original actors playing those parts once again. The lads are OK, simply the two girls do well. Lily James as Donna doesn't play Meryl Streep, just her charm and verve hateful that she commands the screen in her ain 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 exist spoilering the movie's large underground. Y'all didn't hear it from me.
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a look dorsum
Greetings again from the darkness. Information technology'south been x years since manager Phyllida Lloyd presented the oversupply-pleasing MAMMA MIA! moving picture. It was a box role hitting (over $600 1000000 worldwide) and was, for a few years, the highest grossing musical of all-time. Most chiefly, it was extremely entertaining and a joyous cinematic romp for viewers. This year's sequel is directed by Ol Parker (THE BEST EXOTIC MARIGOLD HOTEL and husband to actress Thandie Newton), and though the melancholy is slathered on a bit too thick, information technology too fulfills its number one priority - entertaining the fans.
The story begins with Sophie (Amanda Seyfried) putting the terminal touches on the house-turned-hotel in preparation for the upcoming Grand Opening. It's named Hotel Bella Donna in accolade of Sophie's mother (Meryl Streep). What looks to be a direct-forward story surprises usa with a flashback to Donna's 1979 graduation, which features not just the first song-and-trip the light fantastic number "When I Kissed the Teacher", but too the get-go of ii ABBA cameos ... Bjorn Ulvaeus equally 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 beginning movie - 3 possible dads for Sophie.
Those 3 dads return not only as Pierce Brosnan (Sam), Stellan Skarsgard (Bill), and Colin Firth (Harry), only also equally Jeremy Irvine (young Sam), Josh Dylan (young Bill), and Hugh Skinner (young Harry). In fact, most of the run time is defended to the backstory of these characters and how they first met as youngsters. Each has a segment (and song) with immature Harry featured in "Waterloo" accompanied by Benny Andersson (ABBA cameo #ii) on piano. Young Beak 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 Horse).
Also back are Dominic Cooper equally Sky, Sophie'south true love, who can't decide between romance and career, and Donna's life-long friends Tanya (Christine Baranski) and Rosie (Julie Walters), who are as well part of the flashback equally Jessica Keenan Wynn (excellent as young Tanya) and Alexa Davies (every bit young Rosie). New to the bandage are Celia Imrie in the graduation number, Andy Garcia every bit the hotel manager, and drawing the biggest applause of all ... Cher equally Sophie's grandmother (and as my viewing partner commented, an early peek at what Lady Gaga will look similar as a grandma)! It's best if you experience 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 central and many of the ABBA numbers from the first motion picture are featured once more this time. In particular, "Dancing Queen" is a nautical standout, and "Fernando" is a bear witness-stopper. While it may not be quite every bit raucous as the first, it's a treat watching Lily James, and there is a wonderful blending of "one-time" and "new" in the finale. The but real question remaining is, did the casting director do the math before casting Cher (age 72) every bit Meryl Streep's (age 69) mother?
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Even ameliorate than the first one!
Allow'southward get the obvious out of the way: Meryl Streep is in this movie for five minutes. She may exist front and center in the promotional affiche, and she may become the "and" in the credits, but she makes her entrance during the very terminal scene of the movie. 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 i told me that, either. This one's a drama, folks.
I thought this movie was going to be terrible, a featherbrained excuse to prance effectually and sing more ABBA songs, aslope a thin plot that was described in five minutes during the original and didn't need more item. But it'south and so much better than the kickoff one! Non constrained by the ill-plumbing fixtures songs of the original Broadway musical that stuck numbers into scenes with no connection to furthering the story, this flick actually puts songs in when they matter. In that location are a few overlaps of songs that were used in the first motion-picture show, just the vast majority of the songs are new (to the moving-picture show, not 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 intermission upwards at the starting time of the pic. "I Wonder" (a great number that you lot'll only discover in the deleted scenes) is sung by Lily James as she heads off to have a European adventure afterwards graduation.
The best role of the motion-picture show, and the reason it's infinitely better than the first one, is the respect the "younger cast" gives to the "older cast". While function of the plot is a sequel, five years after the first film concluded, 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'southward journey to Greece and her encounter with three young men. In this extensive flashback, everyone was given a younger counterpart, and everyone did all-encompassing research. Lily James projects all of Meryl Streep's mannerisms from the outset movie, Jeremy Irvine perfects Pierce Brosnan'due south accent, Hugh Skinner matches Colin Firth'due south hesitation and spoken language patterns, Josh Dylan is just every bit carefree and fun every bit Stellan Skarsgard, Alexa Davies puts in shoulder rolls and wacky movements to aqueduct Julie Walters, and Jessica Keenan Wynn seems like someone put Christine Baranski in a time motorcar. It's wonderful to run into the younger cast and the older bandage in alternating scenes, and, just similar the original, you can experience how much fun everyone had while filming.
While information technology'south rude to choice out one member among the cast as the highlight, Lily James is such an adorable, likable sweetheart, she deserves an extra mention. It'south no small job to make everyone in the audience forget they came to the theaters to meet Meryl Streep, and withal to continually remind everyone that y'all're playing her younger counterpart. No crime to Miss Streep, but no i will miss her in this flick. With a brilliant, fresh, new actress on the screen who embodies the free spirit of a time period that passed earlier she was born, it'south only non possible to think anything'southward missing from the leading lady of the film. She's delightful, beautiful, sunny, frisky, and full of life. You might even puzzle equally to where you've seen her before, since she's so transformed from the famed cinder girl, Churchill'southward secretary, and, most notably, the flapper cousin to the Granthams.
At that place's and so much attention to detail in this movie, and equally someone who knows the first Mamma Mia similar the back of my hand, I was able to appreciate all of it. Author-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. Just don't pay attending to the society of the relationships written in the diary from the beginning movie. This one makes and then much more than sense, and then but go with it. With fun, flashy colors, costumes, and on-location filming, every vocal and scene is enchanting.
Keep in mind it's a drama. I may be an like shooting fish in a barrel target, since I bawl my way through the first Mamma Mia every time Meryl Streep sings "Slipping Through My Fingers," merely I cried twice equally hard during this film. At that place 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 film if the audience cries. I wouldn't have cried and then much if Lily James was unlikable or if the story wasn't interesting.
Trust me, even if you think information technology's going to be dizzy, you've dear it far more you thought possible. From songs that declare children the love of a parent'south life, to big '70s pilus, to finding domicile where you least expect information technology, to seeing anybody reunited x years later with jokes and winks to go around, this is a movie y'all'll want to watch over and over again. If you thought the end credits of the first picture were fun, yous'll love the credits in these, as the older and younger people dance together and savor adorable curtain calls. I know what I'm getting for Christmas-that, and a box of Kleenex.
DLM Warning: If you suffer from vertigo or empty-headed spells, similar my mom does, this movie might not be your friend. When Amanda Seyfried lies downward on her bed during "Ane of The states" the camera spins around in a circle, and it will make yous sick. In that location's another circle during "Waterloo" correct subsequently information technology shows the chorus woman in a wheelchair. A third spin is in the closing 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 energy and she dances and sings well. She makes some of the other actors await insipid and amateurish. That was casting genius. Only the younger versions of the men were badly cast except for Jeremy Irvine of State of war Horse who is okay. The immature Pecker and Harry are 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 accelerate the plot.
The filming was in Croatia and the lush vegetation and sandstone buildings look like Croatia not Greece.
One of the few adept points was that the story quite satisfyingly explained how she slept with the three men in pretty quick succession without being sleazy.
One of the near plus points was that Meryl wasn't in most of this moving-picture show. When she finally reappears she drags things downward to a substandard level. She ruined the first movie. Cher is then much better than her.
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Infectious summer fluff. The music will have you dancing.
If y'all know the basic plot covering both Mamma Mia!due south, namely that immature Sophie (Amanda Seyfried) is the daughter of deceased Donna (Meryl Streep), then you lot'll wade through happily the many strands of flashbacks that are cut and so swiftly you'll wait for ABBA'southward songs for relief. Mamma Mia! Hither We Go Once again gives back story ample with songs that even from the 70's are yet vibrant.
Consider "When I Kissed the Teacher" and "Andante, Andante" for just two melodic popular tunes fitting into another screen version of what started equally a Broadway musical. Endeavor to forget Pierce Brosnan singing "When all is said and done" in the start Momma Mia! In this ane he'south mercifully given simply a few lines to sing. Virtually anybody else can behave a melody and trip the light fantastic toe nicely, thanks.
More astonishing is shoehorning "Waterloo" into a plot that wouldn't seem uniform. But information technology is, and the number is visually splendid. Consider as well their inserting over-the-top 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 price.
Of class with this mash up of Abba romantic songs and the burden of figuring out which actor is which version of an original character, you lot somewhen done the 2 hours and are costless to retrieve of your own family unit tree, without the soap opera flourishes. Refurbishing Donna'due south old business firm gives daughter and moving picture a reason to exist excited.
The musical has an infectious spirit that percolates when the older characters are center phase. Something nearly Colin Firth and Meryl Streep, for just two examples, reminds me of the charisma a mature star can bring that younger, handsomer, hipper actors tin can't attain. No carping, all the same, can erase the beautiful Greek island background, ridiculously sloppy, romantic plot, and actors born to be showcased for their looks and for nearly, except Brosnan, their musical talent.
Summertime'southward bounty, no more or less.
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A Haunted House Sequel of The Original
Warning: Spoilers
There are good things about this musical one-act. The locations used in Croatia look fabulous. The Graduation seen at Oxford, UK reminds me much of Professor Wagstaff's higher decorum at Huxley University in HorseFeathers (for those who have never seens ane of the Marx Brothers pinnacle grossing films from Paramont, it throughly lampoons higher education. That is the only reason why information technology doesn't get every bit much aclaim as Duck Soup. )
Some other good thing is the crossing of 3 generations or so in the cast. The idea here is to continue the story and endeavor to get all ages interested it it. A fair role of the cast is really quite old. 72 Year Sometime Cher looks very heavy both in girth and in the make upwards department. Information technology is likewise unclear why she is even there other than to exercise the ane song. I also wonder if CGI is used along with make-upwards on Cher as her neck has no wrinkles which is truly amazing.
Meryl Streep at age 69 does not accept as much make up and actually looks adept for that historic period. I am glad to see the Grandparents, Parents, Kids and K 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 unlike thought of what everything meant than I did. I would allocate this more as a Musical than a one-act. Of course, the manner they present information technology I recollect an episode of 79 year old Maury Povich needs to be done to accept 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 nifty Grandma, a mom who appears to be risen from the dead, and more than women throwing themselves at men than the average moving-picture show. Women can throw themselves at METOO, I don't heed.
I think with a few lines and zingers, we could brand this a sequel to Halloween and bring in Jason equally Cher's Ex-Grandpa. It is entertaining and well staged. It'due south but a chip out of the realm of existence a musical that would bring dorsum 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 humor in this musical, even though information technology gets shrunk).
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MAMMA MIA! HERE WE Get AGAIN promises pure joy and Euro-pop feel-goodism to its core audience
Precisely 10 years after its massively popular ancestor, this ABBA-jukebox musical sequel/prequel returns with a somber premise, our beloved protagonist Donna Sheridan (Streep) has kicked the bucket (does the moving-picture show even reveal the cause of death?), and passes the baton to her daughter Sophie (Seyfried, thankfully bestowed with an ethereal voice), who is nonetheless processing her grief and the sequel-story kick-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 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 up but cannot tell whose fortuitous sperm strikes aureate, and decides to enhance her kid all on her ain. So apart from the old gang, even Streep has a glorified cameo nearly the stop as a ghost reunited with Sophie during her baby granddaughter'south christening ceremony, the cast is redoubled not just by the initiation of the younger-self accomplice, Jessica Keenan Wynn and Alexa Davies evoke uncanny resemblances and share extraordinary exuberance with Christine Baranski and Julie Walters equally Donna's bestie Tanya and Rosie, and then and now, respectively, merely too past the much-hyped advent of Cher, Streep's SILKWOOD (1983) co-star, who perversely plays Donna's female parent Ruby in some other glorified cameo, and struts her pristine pare condition and minimal movement when belts out FERNANDO, opposite to a seemingly unnerved Garciá.
Never trying to overreach it from its cocky-noesis 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-director Ol Parker attests to be an able hand in coordinating and segueing between two story-lines, together with a faculty for choreographic deployment.
Every bit much every bit the cast enjoys a helluva shindig and disseminates an infectious jag of joviality to ascertain audience are having a expert time either, a takeaway afterthought pops up unexpectedly by positing a morbid if entirely irrelevant presumption, how can we adjust ourselves when i twenty-four hour period we will truly lose our national treasure similar Meryl Streep and her ilks? Such a dreadful idea, perhaps, seeing things through blue-colored glasses is this reviewer's kryptonite.
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I could care less about whatsoever of the characters in either moving-picture show, or any of their drama, only I dear ABBA though!
'MAMA MIA! Here WE GO Over again': Ii 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 name). The film is once again filled with music by the band ABBA, and it was written and directed (this fourth dimension) by Ol Parker. Information technology tells the story of how Sophie's mother became pregnant with her, while Sophie is now dealing with pregnancy herself. The motion 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 cursory cameo). Information technology'southward received mostly positive reviews from critics (dissimilar it'southward predecessor), and it'southward another big hit at the Box Part as well (much like the original). I liked it just near as much as I did the kickoff picture show, which isn't much.
The story takes place five years later on the events of the original, and Sophie (Seyfried) is now pregnant herself. While dealing with this news, she reminisces most the life of her (now) deceased female parent, Donna (Streep); when Donna was younger (James) and became pregnant with her. The film explains how Donna met Sophie's iii possible dads (Irvine, Skinner and Dylan), and the romances that developed with each of them. The entire matter is of course played out (one time once again) while characters are singing and dancing to ABBA tunes.
I like the band ABBA (I have their 'All-time Of'' CD), and I do like the music in both films. I also like musicals, sometimes a lot. These films are just and then cheesy and cliched though. They're totally uninvolving also; I could care less about any of the characters in either flick, or any of their drama. The music is of course fun to hear though. Fans of ABBA, and musicals, will probably discover information technology enjoyable enough (especially if you like the first film).
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Abba 'nother ane
Okay then this one I took for the team, accompanying my wife to this 2d film featuring the music of one of her favourite groups. My opinion of Abba'southward music is that when they're good they're very proficient but when they're bad they're dire. Obviously the start movie, based on the stage evidence, employed all the generally very expert "Abba Gilt" greatest hits while here at that place are quite a lot of second sectionalization tunes merely their most devoted fans volition 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 plainly already been in the first pic such equally "Waterloo", "Knowing Me Knowing Y'all", the inevitable "Dancing Queen" and snippets of many others too.
The storyline is as flimsy as before and actually just a contrivance to get all the original characters reunited in front of the cameras in bright outdoor settings. A few new characters do show upwards well-nigh notably Cher who delivers a surprisingly good version of both "Fernando" and "Super Trouper " to give the movie a lift at the end.
There are some dandy and inventive camera tricks which help the flow of the film whilst the sense of humour is as girlie and occasionally risque as you lot'd expect - clearly the film makers know their audience.
Anyhow information technology's all very bright , tuneful, happy and entertaining in a lightweight sentimental mode, as you lot'd expect and my wife, well she absolutely loved it.
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Terrbile movie it may be but this is glorious fun.
Like the first i it is, of class, critic-proof, (Meryl knew that when she agreed to put in a cameo appearance and Cher knew it when she saw a risk to resurrect her career at the age of lxx-ii). There are times when it resembles nix more than gay nighttime at the pantomime, (and if yous thought the first 1 was gay wait until yous meet this 1), only it would be churlish to endeavour to resist information technology and, to exist fair, this is past far the better movie. We are talking, of course, about "Mamma Mia; Here We Become Over again", the sequel/prequel to the pic version of the stage show that has been playing somewhere in the world for what seems an eternity.
The first film worked because the Abba songs were/are basically indestructible and I did call back it quite clever how they were able to construct a story around them. It was a terrible movie but it was also undeniably good fun and at that place 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-upwardly. Surely all the best songs had already been used upwardly, I idea. Isn't this just cashing in on the success of the original?
Well, yes and no. It was obvious to anyone with a encephalon that they were on to a good thing so why not come up with another 'story', even so flimsy. The plot is simply how did Donna run into the men in her life and how come she couldn't be certain first time effectually who the father of her child was. Information technology isn't much of an idea to hang a whole motion-picture show on so let's have her daughter Sophia programme a big reopening of Donna'due south hotel, (Donna/Meryl has been dead a yr when the film opens), bringing together the cast of the original, (every bit I said Meryl'southward appearance is reduced to a good-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 obviously gay Hugh Skinner who seems to take mastered the art of playing fools. No matter, he's nonetheless the commencement to bed Miss James, losing his virginity in the process. So far, so obvious just 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 manner, stronger. Every bit I said, by the time 'Dancing Queen' comes effectually resistance is futile and the flick becomes an elaborate party, the kind you e'er hoped you'd be invited to. Of course, neither motion picture volition ever be on anyone'southward listing of all-fourth dimension groovy musicals but even if you detest yourself in the morning, this is one party worth having a hangover for.
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How can you not enjoy this?
Look, I'm non going to sit hither and say that these Mamma Mia films are expert, but I undeniably savour them. There's just something special about a grouping of actors, not usually seen in these cheesy films, having the time of their life singing incredibly tricky popular songs and dancing their butts off. This picture is a sort of sequel and prequel combined (i'thousand non kidding when I say the producers were inspired by The Godfather Function 2) and it has a massive bandage, but most notably Lily James as a immature Meryl Streep. Continuing as one of the near likable young actresses working today, James doesn't attempt to do a Meryl impression simply 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 ever engaging, and the script is the good kind of cheesy. Oh, and the Dancing Queen sequence? Yeah, information technology's one of the all-time scenes of twelvemonth in film. Yes, I just said that.
8.2/x
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