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If you enjoyed the first “Mamma Mia!” film, which came out in 2008, you’ll enjoy “Mamma Mia! Here We Go Again,” which offers even more—and even less—than the first.
Among the many changes in the sequel (which also serves as prequel) are an expanded cast, a longer running time, additional subplots, and more romantic entanglements between the characters. However, it is significantly less crowded than its predecessor and has even lower stakes. Although less entertaining, it manages to go absolutely nowhere for all of its frantic energy and frantic effort.
The second “Mamma Mia!” is inspired by the music of ABBA and takes place on a picturesque Greek island, and it is the lightest piece of Swedish pastry with the sweetest chunk of baklava on the side that you will ever eat. And while that may sound delectable, it is likely to leave you with a painful toothache later (as well as a headache).
During one particularly clunky musical number, I jotted down the following in my notes: “I am feeling extremely uncomfortable right now.” However, while the goofy imperfection of this song-and-dance extravaganza is partially the point — and theoretically, a source of its charm — it also becomes repetitive and tiresome fairly soon.
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Nobody can top Meryl Streep’s infectious joy as she writhes around in a barn in overalls while performing the title song in the original film, or the emotional depth she demonstrates when she sings “The Winner Takes It All” to Pierce Brosnan. In that vein, if you’re hoping to see Streep’s playful, musical side once more, you’re going to be disappointed in her performance. Despite her prominent appearance in the film’s marketing materials, she appears in only a few scenes.
That’s because Streep’s free-spirited Donna has passed away, as we learn at the film’s outset, but her presence can still be felt throughout the film in a tear-jerking manner. A year after the events of the first film, Sophie (Amanda Seyfried) is reopening the inn her mother ran, now known as the Hotel Bella Donna, on the same idyllic (and fictional) Greek island of Kalokairi where the events of the first film took place. Ol Parker (whose relevant experience includes writing the “Best Exotic Marigold Hotel” films) jumps back and forth in time between Sophie nervously putting the finishing touches on a big party she’s planning and the story of how her mother first ended up on this remote slab of land in the Aegean Sea—and became pregnant with Sophie in the late 1970s without knowing who the father was.
Mamma Mia Here We Go Again Quiz
In Lily James’s portrayal of Donna, the young girl is described as “a friendly mess of wild, blonde curls and high, platform boots.” (In fact, James’ cheerful presence is one of the film’s few constant bright spots.) We meet the younger versions of her best friends and jumpsuit-clad backup singers, Tanya (Jessica Keenan Wynn, who does an excellent impression of Christine Baranski) and Rosie (Jessica Keenan Wynn, who does an excellent impression of Christine Baranski) (Alexa Davies, standing in for Julie Walters). Throughout the film, we see her flirt with and fall for the three men with whom she has brief but passionate encounters the summer after graduating from college.
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First and foremost, there’s the jittery Harry (Hugh Skinner), who tries to win her over with his halting French skills while visiting Paris. Then there’s Bill (Josh Dylan), a sultry Swede who woos her on the boat that transports her to the island. Finally, there’s Sam (Jeremy Irvine), an aspiring architect who happens to be on vacation on Kalokairi at the time of her arrival. They will grow up to be Colin Firth, Stellan Skarsgard, and Pierce Brosnan, respectively, and they will be compelled to sing ABBA songs that they will clearly find depressing and demeaning.
The ABBA songs, to be sure. For the smash-hit stage musical as well as the original film, they served as the confectionery connective tissue between the two. This time around, the most rousing songs from the ’70s Swedish supergroup are also reprises from the first time around: a flotilla of fishermen singing and prancing to “Dancing Queen,” or the splashy finale with the entire cast singing and dancing to “Super Trouper.” A large portion of the soundtrack is comprised of lesser-known songs, and the uninspired way in which those numbers are staged and choreographed prevents them from achieving their full potential.
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Once again, however, these actors are such consummate professionals that they are unable to help but make the most of their limited material. Baranski and Walters, in particular, have rekindled their explosive chemistry. The brief moments in which the supremely overqualified Firth, Skarsgard, and Brosnan joked around with each other as Sophie’s three fathers made me long to see them together in something other than Sophie’s three fathers again. Anything else you want to say. Even better, it’s a documentary in which they eat lunch on the porch under the bright Greek sun.
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Then there’s Cher, who shows up. Now, it appears that it will be impossible for this superstar goddess to ever be restrained. Cher, on the other hand, appears to be strangely restrained in her role as Sophie’s frequently absent grandmother. Rather than dancing, she simply stands there singing “Fernando” before stiffly walking down a flight of stairs to greet the person to whom she is singing. In his role as the hotel’s caretaker, Andy Garcia conveniently plays a character named Fernando, which makes for an amusing cameo appearance.
But if you enjoy watching A-list stars belt out insanely catchy, 40-year-old pop tunes in a glittering setting, and you’re willing to throw yourself headlong into the idea of love’s transformative power, and you’re in need of a mindless summer escape of your own, you might just thoroughly enjoy watching “Mamma Mia! Here We Go Again.” – – Don’t think about it, and please pass the ouzo.
For more personality quizzes check this: Oceans Eight Quiz.
