With Ol Parker's Mamma Mia! Here We Go Again just days away, I decided to finally to watch the original film last week. I knew it was an enormous hit upon its release in 2008, and I knew there was a loyal and passionate fanbase for the ABBA musical. I also knew plenty of people who absolutely hated the movie. Long story short- I didn't know what to expect.
Musicals are hit and miss with me, and Mamma Mia! definitely falls into the latter category. The music is fine (though rarely fitting with what's happening on screen) and the cast is good, but I lost patience with the whole thing after about 15 minutes. I pride myself on not searching for the logic in movies, but everyone has to break their own rules every now and then. The story in Mamma Mia! is so profoundly insipid and illogical that I thought my brain was collapsing. Suddenly, I felt a great deal of dread for Here We Go Again, which seemed to promise more of the same for fans of the first chapter. Could I actually make it through another silly musical?
In a rather stunning turn of events, Mamma Mia! Here We Go Again is significantly better than its predecessor. The musical numbers are snappier, the cast is somehow even better, and Lily James continues to prove why she's a rising star. There's fun to be had with this sequel, and I mostly went along for the ride.
Oddly enough, it helps that there's basically no plot. Amanda Seyfried's Sophie still hasn't taken a paternity test, but she's less concerned with finding her father and more worried about the opening of the Hotel Bella Donna. In case you didn't figure it out from the marketing, Donna (Meryl Streep), Sophie's mother and the cornerstone of this giant family, has passed away, leaving a great deal of grief and anguish in her absence. Sophie is opening a new hotel on the Greek island of Kalokairi in her memory, transforming their home into a vacation destination. This was always her mother's dream, and Sophie is throwing a lavish party to celebrate.
At the same time, we also learn the history of young Donna (James), who got pregnant with Sophie at a very young age. In case you've ever wondered how she met the younger versions of Harry (Hugh Skinner), Bill (Josh Dylan), and Sam (Jeremy Irvine), this movie has the details. While Donna's fairy tale backstory unfolds, the opening of the hotel is much more tumultuous than Sophie had hoped for. She's fighting with Sky (Dominic Cooper), her husband (the film never makes it clear if they got married, so I'm just assuming) and "soulmate," while also attempting to keep everyone else under control. Rosie (Julie Walters) and Tanya (Christine Baranski) return as moral support, and the older versions of Sophie's three dads (Colin Firth, Stellan Skarsgard, Pierce Brosnan) show up in unexpected ways. And.......yeah, that's about it- that's the movie! Come see good actors have fun!
This is basically a hangout movie that just so happens to feature a never-ending stream of musical numbers. Here We Go Again feels inspired by the films of Richard Linklater, taking more cues from the Before trilogy than any other big-screen musicals. This inspiration manifests in a number of subtle and obvious ways. In terms of a blunt comparison, young Donna basically experiences Before Sunrise three different times, hopping around Europe and falling in love with Harry, Bill, and Sam, singing and dancing along the way. These sequences are positively delightful, and I can't oversell how good this young cast can be. But the loose hangout feel extends to the modern narrative, where the end goal is to basically throw a big party. With no big central mystery to hold things back, writer/director Parker just lets the cast do their thing. Unsurprisingly, it's wonderful.
But even if there's no real plot to complicate matters, Here We Go Again is grounded in real emotional stakes, a welcome change of pace from the forced drama of the first chapter. The flashback elements are pretty light and carefree, but Donna's death sends clear ripple effects through the lives of these characters, and there's genuine sorrow on display here. Of course, Mamma Mia! hasn't become a tragedy, yet this dose of real life pain and loss makes the sequel feel recognizably human in a novel and welcome way. Once again, this is where the lack of a central plot becomes essential. Freed from the constraints of a contrived narrative, these characters are able to explore their feelings, growing and changing in interesting ways.
However, Parker is keenly aware of why people come to these movies, and he keeps the unexpected emotional core under control for much of the runtime. And even when someone is sad or heartbroken, the film often switches into a big song-and-dance number, pushing those feelings aside in favor of a return to the much-needed escapism. Not every musical number in Here We Go Again hits the mark, mostly because there's a new one every other minute. But when Parker and his choreographers are successful in crafting something enjoyable and dazzling, they're very successful. Everyone will have a personal favorite of the bunch, and I'm sure some will love them all. For me, the choice is easy- I simply adored the "Waterloo" number with young Donna and Harry.
I've already sung the praises of the stellar ensemble, but after all, they're the reason the movie works. Lily James has been a major presence in Hollywood for a few years now, so this is far from a breakout role. Nonetheless, the young actress continues to showcase her range in dynamic new ways, radiating energy and commanding the screen at every opportunity. Plus, she has great chemistry with each of her younger counterparts. Jeremy Irvine and Josh Dylan are excellent as young Sam and Bill, respectively, but it's Hugh Skinner who steals the show, capturing Colin Firth's mannerisms and vocal inflections without missing a beat. The older cast is terrific too, but we already knew that, didn't we?
Here We Go Again certainly overstays its welcome, running almost 2 hours in length and losing a significant amount of momentum in the second act. A big, lightweight musical like this is the equivalent of eating candy, and Parker is content to keep shoveling raw sugar in the viewer's face. But eventually, if you eat too much candy, you'll get sick. By the end of this sequel, I felt stuffed; another musical number might have killed me. Still, I can't deny that I mostly enjoyed myself, taking in the joyous pleasures of the film with a smile on my face. Here We Go Again is sure to please hardcore Mamma Mia! fans, but if my experience holds any weight, it may even delight those who found nothing to enjoy in the original.
THE FINAL GRADE: B- (6.5/10)
Musicals are hit and miss with me, and Mamma Mia! definitely falls into the latter category. The music is fine (though rarely fitting with what's happening on screen) and the cast is good, but I lost patience with the whole thing after about 15 minutes. I pride myself on not searching for the logic in movies, but everyone has to break their own rules every now and then. The story in Mamma Mia! is so profoundly insipid and illogical that I thought my brain was collapsing. Suddenly, I felt a great deal of dread for Here We Go Again, which seemed to promise more of the same for fans of the first chapter. Could I actually make it through another silly musical?
In a rather stunning turn of events, Mamma Mia! Here We Go Again is significantly better than its predecessor. The musical numbers are snappier, the cast is somehow even better, and Lily James continues to prove why she's a rising star. There's fun to be had with this sequel, and I mostly went along for the ride.
Oddly enough, it helps that there's basically no plot. Amanda Seyfried's Sophie still hasn't taken a paternity test, but she's less concerned with finding her father and more worried about the opening of the Hotel Bella Donna. In case you didn't figure it out from the marketing, Donna (Meryl Streep), Sophie's mother and the cornerstone of this giant family, has passed away, leaving a great deal of grief and anguish in her absence. Sophie is opening a new hotel on the Greek island of Kalokairi in her memory, transforming their home into a vacation destination. This was always her mother's dream, and Sophie is throwing a lavish party to celebrate.
At the same time, we also learn the history of young Donna (James), who got pregnant with Sophie at a very young age. In case you've ever wondered how she met the younger versions of Harry (Hugh Skinner), Bill (Josh Dylan), and Sam (Jeremy Irvine), this movie has the details. While Donna's fairy tale backstory unfolds, the opening of the hotel is much more tumultuous than Sophie had hoped for. She's fighting with Sky (Dominic Cooper), her husband (the film never makes it clear if they got married, so I'm just assuming) and "soulmate," while also attempting to keep everyone else under control. Rosie (Julie Walters) and Tanya (Christine Baranski) return as moral support, and the older versions of Sophie's three dads (Colin Firth, Stellan Skarsgard, Pierce Brosnan) show up in unexpected ways. And.......yeah, that's about it- that's the movie! Come see good actors have fun!
This is basically a hangout movie that just so happens to feature a never-ending stream of musical numbers. Here We Go Again feels inspired by the films of Richard Linklater, taking more cues from the Before trilogy than any other big-screen musicals. This inspiration manifests in a number of subtle and obvious ways. In terms of a blunt comparison, young Donna basically experiences Before Sunrise three different times, hopping around Europe and falling in love with Harry, Bill, and Sam, singing and dancing along the way. These sequences are positively delightful, and I can't oversell how good this young cast can be. But the loose hangout feel extends to the modern narrative, where the end goal is to basically throw a big party. With no big central mystery to hold things back, writer/director Parker just lets the cast do their thing. Unsurprisingly, it's wonderful.
But even if there's no real plot to complicate matters, Here We Go Again is grounded in real emotional stakes, a welcome change of pace from the forced drama of the first chapter. The flashback elements are pretty light and carefree, but Donna's death sends clear ripple effects through the lives of these characters, and there's genuine sorrow on display here. Of course, Mamma Mia! hasn't become a tragedy, yet this dose of real life pain and loss makes the sequel feel recognizably human in a novel and welcome way. Once again, this is where the lack of a central plot becomes essential. Freed from the constraints of a contrived narrative, these characters are able to explore their feelings, growing and changing in interesting ways.
However, Parker is keenly aware of why people come to these movies, and he keeps the unexpected emotional core under control for much of the runtime. And even when someone is sad or heartbroken, the film often switches into a big song-and-dance number, pushing those feelings aside in favor of a return to the much-needed escapism. Not every musical number in Here We Go Again hits the mark, mostly because there's a new one every other minute. But when Parker and his choreographers are successful in crafting something enjoyable and dazzling, they're very successful. Everyone will have a personal favorite of the bunch, and I'm sure some will love them all. For me, the choice is easy- I simply adored the "Waterloo" number with young Donna and Harry.
I've already sung the praises of the stellar ensemble, but after all, they're the reason the movie works. Lily James has been a major presence in Hollywood for a few years now, so this is far from a breakout role. Nonetheless, the young actress continues to showcase her range in dynamic new ways, radiating energy and commanding the screen at every opportunity. Plus, she has great chemistry with each of her younger counterparts. Jeremy Irvine and Josh Dylan are excellent as young Sam and Bill, respectively, but it's Hugh Skinner who steals the show, capturing Colin Firth's mannerisms and vocal inflections without missing a beat. The older cast is terrific too, but we already knew that, didn't we?
Here We Go Again certainly overstays its welcome, running almost 2 hours in length and losing a significant amount of momentum in the second act. A big, lightweight musical like this is the equivalent of eating candy, and Parker is content to keep shoveling raw sugar in the viewer's face. But eventually, if you eat too much candy, you'll get sick. By the end of this sequel, I felt stuffed; another musical number might have killed me. Still, I can't deny that I mostly enjoyed myself, taking in the joyous pleasures of the film with a smile on my face. Here We Go Again is sure to please hardcore Mamma Mia! fans, but if my experience holds any weight, it may even delight those who found nothing to enjoy in the original.
THE FINAL GRADE: B- (6.5/10)
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