Mamma Mia Here We Go Again Youtube
Westward atching the original Mamma Mia! in 2008, I had something budgeted an out-of-trunk feel. Having initially scoffed at everything from the contrived join-the-pop songs plot to Pierce Brosnan's unique vocal stylings, I felt my feathery inner cocky depart from my bleak outside and first dancing in the aisles. I infinitesimal I was a miserable critic; the next, everything had gone pink and fluffy. As I said at the time, never before had something and so wrong felt and so right.
A decade later on, 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 Loftier School Musical-style rendition of When I Kissed the Instructor) before heading off on an endless vacation wherein she will try on a pair of dungarees and a trio of handsome suitors. Meanwhile, in the present, Amanda Seyfried'due south Sophie is striving to fulfil her mother's vision (she had a dream!) with the newly renovated Hotel Bella Donna, while wrestling with the prospect of history repeating itself on this idyllic isle.
As nosotros flip-flop through the singalong hi-jinks, Hugh Skinner, Josh Dylan and Jeremy Irvine grow up to become Colin Firth, Stellan Skarsgård and Pierce Brosnan, while Jessica Keenan Wynn and Alexa Davies prove dab hands at essaying younger incarnations of dynamic duo Christine Baranski and Julie Walters.
Taking over the directorial reins, Ol Parker (who fabricated Imagine Me & You lot and the underrated At present Is Proficient) delivers a slicker package than Phyllida Lloyd's record-breaking original, full 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 not be responsible for such post-4 Weddings zingers as "Be still my beating vagina" and "It's called karma and it'due south pronounced 'Ha!"'
Yet as earlier, the real pleasure comes from the sublime desperation 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 express joy-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 Y'all). Crucially, such creaks appear to be entirely knowing, encouraging us to laugh with the story, rather than at it – something I'grand not entirely certain was true of the original stage musical and picture show.
It helps that the ensemble bandage are extremely likable and admirably game; the lyrics to Dancing Queen may insist that "y'all can dance, you lot can jive", simply the fact that many of the men tin do neither of the above doesn't stop them from having the time of their lives anyhow. By contrast, the women are on meridian form – from Lily James, who could charm the birds from the trees with her song-and-dance skills, to Julie Walters, whose brand of notation-perfect concrete one-act (information technology's all in the expressions and gestures) proves a reliable delight. Meanwhile, Omid Djalili is a scene-stealing hoot as a withering customs and passport control officer (NB: stay to the very end of the credits).
None of this would mean a thing if Mamma Mia! Here We Go Again didn't likewise pack an emotional punch, and I feel duty-leap to study that I came out of the screening an utter wreck. The tears started early, as James and co danced around a cameoing Björn Ulvaeus, then flowed freely as the hits connected, climaxing in a Dunkirk-style flotilla routine complete with a derisive nod to Titanic, the film that the original Mamma Mia! famously outperformed at the U.k. box part.
Yet having always believed that Abba'south greatest song was a melancholy gem from the Arrival LP, information technology was the spine-tingling reworking of My Love, My Life that hitting me hardest. I wasn't just crying – I was convulsing with tears, desperately trying to stop myself from audibly sobbing. Seriously, the end of Apocalypse Now proved less traumatic.
Much has inverse in the 10 years since Mamma Mia! challenged my ideas of "good" and "bad" pic-making. I take certainly mellowed, and perhaps my critical faculties have withered and died. But I simply tin can't imagine how Mamma Mia! Here We Become Once again could exist any meliorate than it is. I loved it to pieces and I can't await to get again!
Source: https://www.theguardian.com/film/2018/jul/22/mamma-mia-here-we-go-again-review
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