Even after earning both massive Broadway success and a very popular 2008 film adaptation, it seems strange to see Mamma Mia! return in the form of a film sequel exactly 10 years later from the initial film, only about two days off from its original American release in fact. But surprisingly, not only is Mamma Mia! Here We Go Again (fantastic title I might add) a charming and lively follow-up, but it is a great improvement from the 2008 film. While the original had mild bursts of fun energy, it was hit by a mediocre plot, poor singing, and dull cinematography and staging, feeling more like a stage play that features celebrities drunkenly sing ABBA music rather than a charming musical with a nice dose of camp.
Thankfully, a new creative team, led by director and screenwriter Ol Parker, along with a new story from original playwright Catherine Johnson and Bridget Jones writer Richard Curtis, leads to a much more emotional, much more charming, and much more lovable musical, with great musical numbers, a nice dosage of camp, and a cast consisting of old and new that’s an utter delight.
Focusing on the backstory of Meryl Streep’s Donna, played in the past by Lily James, as well as a present-day story with Amanda Seyfried’s Sophie attempting to open a new hotel inspired by her late mother, this Godfather II-style story helps create a solid parallel between the past and present, resulting in a rather charming set of dual storylines. Amanda Seyfried’s conflicts involving both the grand hotel opening and her relationship with her husband Skye, Dominic Cooper reprising his role, are compelling, and utilize several enjoyable ABBA songs. The ending to Sophie’s story in particular is an emotional rollercoaster that on its own makes the film worth viewing.
The sequences in the past, depicting Lily James’ version of Donna exploring her new surroundings and finding her place is admittedly the more interesting plot. James is infectious as Donna, working as a young Streep, while the other actors in her story, who play the younger versions of actors like Christine Baranski, Julie Walters, Colin Firth, Stellan Skarsgard, and Pierce Brosnan, are all likable and lead to some of the best musical numbers in the film.
Speaking of musical numbers, the biggest improvement from the original film comes down to the musical numbers. Not only is the singing much stronger, but the staging and editing is also superior. Ol Parker not only offers fun choreography, but takes full advantage of each setting and location, resulting in some lively, well-shot, briskly edited, and overall entertaining numbers, with Waterloo, Dancing Queen, and Fernando being particular highlights in terms of staging and vocals.
As a result, Mamma Mia! Here We Go Again feels like what its predecessor should have been. A film that is able to capitalize on a good sense of likable camp and energy, while also taking full advantage of its gorgeous locations (the Croatian island used during filming is drop-dead gorgeous) and charming ensemble.