We were pleasantly surprised by the original Mamma Mia! film. While the enduring appeal of ABBA’s music is undeniable, the film also possessed a genuine sense of joy and heart. This proved infectious, even eliciting enthusiastic participation from a typically reserved press audience during the encore. A significant factor in that enjoyment was undoubtedly Meryl Streep, the versatile and compelling actor capable of imbuing diverse characters with authenticity, coupled with the novelty of the overall experience.
However, despite her prominent placement on the cover of Mamma Mia! Here we go again, Meryl Streep’s presence in the sequel is minimal. This is revealed early in the film. The narrative addresses the absence of the central character through the use of flashbacks. The film subsequently focuses on the young Donna (portrayed by Lily James), charting her journey from high school to a travel adventure that leads her to a Greek island paradise and, predictably, several romantic encounters with attractive young men. Accompanied by younger versions of her confidantes Rosie and Tanya (played by Jessica Keenan Wynn and Alexa Davies), the storyline unfolds in a manner reminiscent of an extended episode of Sex & The City, punctuated by ABBA sing-alongs.
Where to begin? Ultimately, Amanda Seyfried’s performance and the final twenty minutes featuring Cher prevent the film from being a complete failure. The narrative suffers from a combination of lazy writing, strained expositions (bordering on cliché), contrived situations, and implausible plot resolutions. The fact that approximately 80% of the film consists of flashbacks, revisiting events already established in the original movie, exacerbates a sense of déjà vu. While Lily James is a competent actress, she lacks the charisma and charm that made Meryl Streep’s portrayal of Donna so endearing, even managing to elicit empathy for otherwise difficult characters. The male cast members are similarly underwhelming. Oscar winner Colin Firth relies on his established British charm, while Pierce Brosnan appears noticeably jaded. Even his reactions to seeing his “bros” again lack genuine enthusiasm. Stellan Skarsgård delivers a few amusing scenes, but the recurring characterization of Bill as “the cruelest Swede of all time” remains largely unexplained. Furthermore, the decision not to cast one of Skarsgård’s acting sons as the younger Bill seems like a missed opportunity.
The Blu-ray edition itself is technically sound. The visuals are vibrant, showcasing the Greek archipelago effectively, and the audio accurately reproduces the well-known soundtrack. A UHD version was unavailable for review at this time due to logistical constraints. The most appealing extra feature is the sing-along mode, which has potential for social gatherings and pre-party entertainment.
To state that we were disappointed with Mamma Mia! Here we go again is an understatement. The overriding sensation was one of boredom. For a significant portion of its runtime (approximately 85%), the film adheres to a formulaic and generic structure, lacking originality. While the inclusion of Cher and the anticipated ABBA song in the final act provides some redemption, the soundtrack ultimately carries what is an otherwise contrived and uninspired musical film. For viewers who find the concept of Sex & The City with ABBA music appealing, this film may be of interest. However, for others, it is advisable to preserve ABBA’s legacy by simply enjoying their music without the need for this superfluous narrative.
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