Mama Mia Here We Go Again Show Me That Song Please I Want to See a Video
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Set on a colorful Greek island, the plot serves as a groundwork for a wealth of ABBA songs. A young woman about to be married discovers that whatever one of three men could exist her father. She invites all three to the wedding without telling her mother, Donna Sheridan (Meryl Streep), who was once the lead singer of Donna and the Dynamos. In the meantime, Donna has invited her redundancy singers, Rosie Mulligan (Dame Julie Walters) and Tanya Wilkinson (Christine Baranski). —jojo.acapulco@gmail.com
- bride
- jukebox musical
- wedding
- greek island
- playing confronting blazon
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six/ 10
Super Pooper
Let me tell you. Just because I've been listening to ABBA virtually non-end since I saw MAMMA MIA! two days ago does not mean I enjoyed the flick all that much. It's merely the Swedish pop super grouping's music is so darn infectious. You would think that energy would translate to feel-great skilful time at the movies but sadly this is not the instance. First fourth dimension feature filmmaker, Phyllida Lloyd, spends far as well much time dragging her anxiety when they should exist dancing upwards and down the beach and no matter how many shots of the moonlight shimmering confronting the waves there are, the movie is still a clunker instead of a stunner.
When a musical is paper thin on the stage, information technology runs the risk of being just evidently airheaded on the screen. On the phase, MAMMA MIA! is a somewhat justified excuse to revive a bunch of ABBA tracks wrapped into a completely implausible, overly romantic farce. Immature Sophie (played on screen past Amanda Seyfried) is but 20 and near to ally the very supportive and very handsome, Sky (Dominic Cooper). Something is missing though. Sophie has lived on this tiny Greek isle her entire life and helped run a crumbling hotel with her mother, Donna (Meryl Streep) but she has never met her male parent. As far as she knows, he left before her mother could say anything to him simply a run a risk run across with her mother'southward diary from the summertime of her conception narrows the possible men to three. So rather than talk to her mother about her want to know where she came from, she invites all iii men (Pierce Brosnan, Colin Firth and Stellan Skarsgard) to her wedding ceremony, pretending to exist her mother looking for a reunion. Naturally all three men accept the invite and hijinks ensue. While the campiness of the whole thing is forgiven on stage because the intermission of atheism doesn't use, this screen version is too far removed from the stage to feel the least bit plausible.
I believe in angels, something adept in everything I run across. And while there is very little skilful to focus on in MAMMA MIA!, at least in that location is always surprising Streep. She jumps upward and downward on beds, slides down banisters without the to the lowest degree bit of concern for breaking her hip. She tin can sing too. Much similar she did in THE DEVIL WEARS PRADA, Streep's performance as the lonely mother of the bride carries the moving picture forwards and, in the show stopping "The Winner Takes Information technology All", elevates the film to heights information technology could never have achieved without her participation. Though the 2 don't get nearly enough screen time together, Streep and Seyfriend make a great female parent/daughter combo. Seyfried's fresh exuberance seems like it might actually exist inherited from her movie mom. The rest of the cast delivers varying results – Julie Walters clearly thinks she is a comic genius but she comes off likewise advised; Christine Baranski is miscast equally an older bombshell making for some particularly awkward moments with younger men; and someone should ensure that Pierce Brosnan never sings on screen again.
Ultimately, MAMMA MIA! never connects all of its components. A melodramatic moment is followed by a peppy ABBA song, which somehow erases anybody's hurting. In that sense, ABBA's music is the perfect choice to fix the tone every bit it is some of the most depressing popular lyricism set to upbeat melodies in popular history. While the contrast adds weight to the songs themselves, the musical masking casts an air of falseness that never lifts. What your left with is a compilation of poorly choreographed, plainly sung music videos. No offence, Meryl, but you are long past your MTV days.
- moutonbear25
- Jul 20, 2008
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Source: https://www.imdb.com/title/tt0795421/
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