Directed by Ol Parker
Starring – Lily James, Amanda Seyfried, Meryl Streep
The Plot – Discover Donna’s (Streep, James) young life, experiencing the fun she had with the three possible dads of Sophie (Seyfriend). Sophie is now pregnant. Like Donna, she’ll be a young mother, and she realizes that she’ll need to take risks like her mother did.
Rated PG-13 for some suggestive material
– The infectious atmosphere is as present as ever, without settling for some of the hokiness of musical acting that plagued the first movie. It’s rare to feel entirely different about two films as identically structured as the two in this series, but ‘Here We Go Again’ manages this feat, combining whimsical song and dance choreography, while playing each individual number to expositional context. Very little feels phony about the way it is delivered, and I appreciate that when immersing myself in the musical genre. It’s high energy without feeling hyperactive, conjuring up an air of musty charm that even males can partake in.
– Fans of the original cast will take great praise in knowing that all of them return here, although some with more screen time than others. The chemistry between Firth, Brosnan, and Skarsgaard is still the sweetest treat within the film, but the on-time comedic delivery of Baranski is as polished as ever. Beyond this, the new additions who represent younger versions of the characters are completely spot-on in appearance and demeanor, to make the transition as seamless as possible. I was convinced that Baranski’s younger self was a real life sibling who was separated from her at birth.
– As for musical selections, there are a few tracks that are derived from the original film, but repackaged in a way that breathes new life into their familiar chords. ‘Dancing Queen’ and ‘Mamma Mia’ are obviously the familiar ones, but here they are performed by someone entirely different, and cater more towards the inspirational peaks of the subplots they enhance. With performances, thankfully nothing is as dreadful as the off-chord work of Streep and Brosnan in the original, instead opting for versatile actors like James and Seyrfied, who remarkably do all of their own singing.
– Richly vibrant costume and set pieces. Familiar pieces of time and place are carefully inserted into the backdrops of each room that the dual stories take place in, hinting with the air of subtlety as to what track might be coming. ‘Waterloo’ for instance, breathes French renaissance in costume design and restaurant decor, transporting us back to the 19th century battle that the Abba song describes. Beyond this, the flashback narrative fashions reflect that of 70’s Swedish tastes, combing through a colorful blend of button-ups and chalets that give way to the relaxed paradise that is captured in location.
– In my opinion, this film has much more reach for the dramatic pull than the original movie did, comparing the lives of Mother and Daughter so fluently with similar movements in time. Despite the delightful atmosphere that nearly fills the entirety of the film, there is a strong sense of longing with the noticed absence of one important character, who most of the film revolves around. This makes ‘Here We Go Again’ more of a generational affair than anything, and the tasteful, feel-good PG-13 escapism makes this angle reach well beyond the screen, for Mothers and Daughters to enjoy alike.
– This film does do a solid job of tying up some loose ends from the first movie that left audiences hanging, regardless of how you felt about it. The delve into Donna’s past paints the vivid picture in details that the first film only spoke about, allowing itself to experience the careless, free-spirited adventure of the main character and her diversity of interaction between each of the three men who eventually played pivotal roles in her future (No jokes here). This gives the original film the kind of replay value that it would never have over the previous decade, and forces you to approach Donna’s character in a much different way than you would’ve originally.
– This film grinds to a screeching halt somewhere in the middle of the second act, and I believe I have figured out the reasons. The overall minimalist approach of developing plot between an overabundance (17) of songs, as well as the meandering material with an overall lack of conflict, leaves the material being approached at a topical level, instead of an immersive one that can properly develop with time being devoted to it. For my money, I would trim this down to 12 songs, and not transition between old and current story as much, because the 70-30 favoritism for the past makes the present feel not as valued. If you wanted a prequel film, just make this a prequel film for 109 minutes.
– Terrible green-screen effects work. For every scene that takes place outside by the water, I couldn’t stop staring at this glaring red flag that made itself present in the cheapest of renderings. If the outline around the character’s bodies doesn’t feel extremely evident, the off-coloring darkness of the sky when a storm is approaching will. We see dark clouds in the distance, but lots of sunshine when it reflects off of a character’s face, and it made for plenty of unintentional laughs when the narrative so badly required focus.
– There is a HUGE deception in the marketing of this film, particularly with that of one vital character who is only in the movie for two scenes. I say deception because the film’s trailers play it off like this character never missed a beat in this second installment, and the posters have this person amongst the top bill, when they should clearly be reduced to the ‘AND’ role that ends every cast text introduction. If you’re seeing this film for this character, the opening five minutes should make you as angry as finding out your favorite relative passed away and no one cared to tell you.
– It’s great to see Cher, but between my disdain for her character’s personality, as well as how late in the film she comes into it, her role feels like the very definition of tacked-on, and frankly I don’t think she was needed. There are certainly enough characters to keep the interest in the material, but for some reason Cher (Who basically plays Cher) is called upon to add something more to this film. Considering Streep as the daughter looks to be somewhere between 55-60 in the movie, how old would that make Cher when she had her?