Review: MAMMA MIA! HERE WE GO AGAIN (2018)

Gimme! Gimme! Gimme! a tissue, because Mamma Mia! Here We Go Again is making me cry just thinking about it.

10 years ago, an awkward teenager not yet the age of a Dancing Queen, saw Mamma Mia! three times at the cinema, made a Dynamos t-shirt and ticked off another film on her epic list to watch every movie Meryl Streep ever made. A decade on and understandably nervous about the prospect of a sequel, I’ve been setting my fears to one side (“WHERE IS MARY LOUISE STREEP?” “HOW IS ‘FERNANDO’ GOING TO FIT INTO THE NARRATIVE?” “WILL HARRY HAVE A HUSBAND?”), ready to wear the platforms once again and enjoy a thin story held together by some of the greatest songs ever written.

We return to the island of Kalokairi to see Sophie (Amanda Seyfried) renovating her mother’s (MERYL!) hotel in time for a grand reopening. Old friends of her mother’s Tanya (The Great Christine Baranski) and Rosie (DAME Julie Walters) come ashore, once again in fine form to help her realise her mother’s Grecian dream  under the sun. In between scenes of Sophie’s estrangement from her partner Skye (Dominic Cooper) and touchingly heartfelt moments with her step-dad, Sam (Pierce Brosnan), the film flashes back to 1979, to see where Donna (Lily James) first got the idea to relocate to Greece and how she found herself enthralled by the three men who formed the dilemma of the first film – Harry (Colin Firth), Bill (Stellan Skarsgård)  and of course, Sam.

Ol Parker’s (Imagine Me and You) direction is spirited and fun manages to recreate the joy of the first film with added skill and panache. An early scene with Pierce had me welling up almost immediately, and it was then that a tidal wave of sentimentality rolled through to sweep me away. ABBA’s ‘S.O.S.’ is briefly reworked in such a way that the lyrics take on a whole new meaning, proving the genius of a songbook that still enraptures the world over.

Speaking of the songs, we get a whole new collection of ABBA reworkings to enjoy, including what could have been an underwhelming interpretation of ‘Waterloo’, turns out to be one of the funniest set pieces in the film, while my disappointment at ‘The Name of the Game’ making an appearance on the first film’s soundtrack album but not in the final cut, was fixed with a dazzling rendition by Lily James. Fan favourite ‘My Love, My Life’ packs an emotional punch (well, more like a wallop across the head with the crying stick) and Cher doing a Cher version of ‘Fernando’ is surreal and absolutely fabulous.

But Lily James really is the stand out in this film. Having to convincingly bewitch all three potential fathers and embody the balls that would see a newly pregnant young woman stay in an abandoned farmhouse and transform it into a business…and after all the strange coincidences, unlikely situations and shoehorned ABBA songs, we just go with it. A special mention goes to Jessica Keenan Wynn who manages to exude the ‘big dick energy’ of Baranski’s Tanya, stealing nearly all over her scenes and has to be the best piece of casting in this sequel-prequel.

At the heart of this story has always been a loving, dysfunctional and unusual mother-daughter relationship and Mamma Mia! Here We Go Again goes a long way to underline again that universal longing to understand where we come from and, most importantly, where we are going.  Seriously, MM!HWGA, just HOW can I resist you?

 

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