Mamma Mia Here We Go Again Review
W atching the original Mamma Mia! in 2008, I had something approaching an out-of-trunk experience. Having initially scoffed at everything from the contrived join-the-popular songs plot to Pierce Brosnan's unique song stylings, I felt my feathery inner cocky depart from my bleak outside and get-go dancing in the aisles. One infinitesimal I was a miserable critic; the next, everything had gone pink and fluffy. As I said at the fourth dimension, never before had something so incorrect felt so correct.
A decade after, this sequel-prequel hybrid (a surprisingly smart combination) produces similarly head-spinning results. In the 1979 sequences, Lily James plays the young Donna, graduating from Oxford (via a High Schoolhouse Musical-style rendition of When I Kissed the Teacher) earlier heading off on an endless holiday wherein she will try on a pair of dungarees and a trio of handsome suitors. Meanwhile, in the present, Amanda Seyfried'southward Sophie is striving to fulfil her mother'southward vision (she had a dream!) with the newly renovated Hotel Bella Donna, while wrestling with the prospect of history repeating itself on this idyllic island.
As we flip-bomb through the singalong hullo-jinks, Hugh Skinner, Josh Dylan and Jeremy Irvine grow up to get Colin Firth, Stellan Skarsgård and Pierce Brosnan, while Jessica Keenan Wynn and Alexa Davies bear witness dab hands at essaying younger incarnations of dynamic duo Christine Baranski and Julie Walters.
Taking over the directorial reins, Ol Parker (who made Imagine Me & You and the underrated At present Is Adept) delivers a slicker package than Phyllida Lloyd's tape-breaking original, total of elegant camera moves, snappy choreography and mirrored shots juxtaposing disparate frames, both temporal and spatial. Alongside Parker, the credited writers include Richard Curtis, who may or may non exist responsible for such mail service-Four Weddings zingers equally "Exist withal my chirapsia vagina" and "It'southward called karma and it's pronounced 'Ha!"'
Yet equally before, the existent pleasure comes from the sublime agony of hearing your favourite Abba tunes crowbarred into the narrative in increasingly preposterous ways. Occasionally the twists are subtle (the whoopingly affirmative "woh woh woh" of Waterloo briefly becomes a commanding "whoa" – as in "stop!" – during a restaurant seduction scene). More often they're laugh-out-loud ludicrous (the scene in which Cher calls Andy Garcia's Señor Cienfuegos by his beginning name evokes Ben Elton's script for We Will Rock You). Crucially, such creaks announced to exist entirely knowing, encouraging usa to laugh with the story, rather than at it – something I'g non entirely sure was true of the original stage musical and film.
It helps that the ensemble cast are extremely likable and admirably game; the lyrics to Dancing Queen may insist that "you lot can dance, yous tin jive", but the fact that many of the men tin can exercise neither of the above doesn't stop them from having the time of their lives anyway. Past contrast, the women are on top form – from Lily James, who could charm the birds from the trees with her song-and-trip the light fantastic toe skills, to Julie Walters, whose brand of note-perfect physical comedy (it's all in the expressions and gestures) proves a reliable delight. Meanwhile, Omid Djalili is a scene-stealing hoot equally a withering customs and passport control officer (NB: stay to the very end of the credits).
None of this would mean a matter if Mamma Mia! Here We Go Over again didn't also pack an emotional punch, and I feel duty-spring to report that I came out of the screening an utter wreck. The tears started early on, as James and co danced effectually a cameoing Björn Ulvaeus, then flowed freely every bit the hits continued, climaxing in a Dunkirk-style flotilla routine complete with a cheeky nod to Titanic, the film that the original Mamma Mia! famously outperformed at the Great britain box office.
Nevertheless having always believed that Abba's greatest song was a melancholy gem from the Arrival LP, information technology was the spine-tingling reworking of My Love, My Life that hit me hardest. I wasn't just crying – I was convulsing with tears, desperately trying to terminate myself from audibly sobbing. Seriously, the end of Apocalypse At present proved less traumatic.
Much has changed in the 10 years since Mamma Mia! challenged my ideas of "good" and "bad" film-making. I accept certainly mellowed, and perhaps my critical faculties have withered and died. Simply I only can't imagine how Mamma Mia! Here We Become Once again could be any amend than it is. I loved it to pieces and I can't wait to go again!
Source: https://www.theguardian.com/film/2018/jul/22/mamma-mia-here-we-go-again-review
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