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Mamma Mia! Here We Go Again ★★★★

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Released: 20th July 2018

Directed By: Ol Parker

Starring: Lily James, Meryl Streep, Cher, Christine Baranski, Amanda Seyfried, Julie Walters, Pierce Brosnan, Colin Firth, Stellan Skarsgard

Reviewed By: Darryl Griffiths

The iconic Swedish pop group said ‘Thank You For The Music!’. An overjoyed studio said ‘Thank You For The Box Office!’.

Sure. Pierce Brosnan singing ABBA’s SOS had a hint of the Borat (Sorry Sacha!) about it. But the summer of 2008 bared witness to a cinematic juggernaut in ‘Mamma Mia’, a jubilant jukebox musical whose sense of joy and fun proved irresistible for audiences. Considering life’s too short. Ten years on we return to the sumptuous setting of Kalokairi Greece with ‘Here We Go Again’, as the sequel fleshes out the timeline, remaining keen to create more cinematic memories.

Content with her unorthodox triple father situation in Harry (Colin Firth), Bill (Stellan Skarsgard) and Sam (Pierce Brosnan). Sophie’s (Amanda Seyfried) fierce determination to honour her mother Donna’s (Meryl Streep) dream of renovating her surroundings into a lavish hotel, coincides with the severe turbulence she’s enduring in her ongoing relationship with Sky (Dominic Cooper).

Increasingly doubtful of her own capabilities. The dynamo duo of Christine Baranski’s Tanya and Julie Walters’ Rosie look to bolster her confidence by delving into Donna’s past, as Lily James’ enthused younger incarnation of the character guides us through her eventful youth with the dungarees intact, reliving her initial encounters in 1979 with Sophie’s dads (Hugh Skinner/Jeremy Irvine/Josh Dylan).

Previously unapologetic in its ramshackle charm and high camp. Director Ol Parker to much relief resists applying restraint to its energetic, big-hearted song and dance numbers, whilst technically and narratively tightening up the deficiencies that perhaps plagued its 2008 counterpart for the purists, with a sharper focus on emotional engagement. As a result, it may not be as quick to overwhelm us with its blindingly sunny disposition like its predecessor, occasionally labouring in its first half with its time-hopping.

Yet when those glorious highs arrive like a new take on ‘Dancing Queen’ and Cher’s stellar firework-heavy rendition of ‘Fernando’, whose cameo evoked hearty cheers in the screening i was in. They are now armed with a poignant and reflective slant, reinforcing the ingenuity in how these timeless songs are integrated into the framework, in order to offer fresh interpretations.

Lighting up the screen as a young Donna Sheridan. Lily James captures the carefree spirit and mannerisms of the character superbly, proving a solid counterpart to Meryl Streep’s original performance and Amanda Seyfried’s Sophie in the singing stakes. Speaking of Streep, much has been made about her (lack of?) involvement in this follow-up. Without slipping into spoiler territory, her gorgeous screen moments this time around epitomise why many fans deemed her an instant hit in the first film. Elsewhere, Christine Baranski and Julie Walters continue to provide fantastic farce, stealing much of the script’s zingy dialogue whilst Andy Garcia’s enigmatic hotel manager is a disarming and dashing addition.

It may not have been a sequel we were warming up the vocal chords for. Yet in striking a killer balance between emotive and euphoric. ‘Mamma Mia! Here We Go Again’ is a truly wonderful follow-up that brims with sincerity and show-stopping splendour.

Dig out the spandex and unleash your inner ‘Super Trouper’…

Movie Reviews

Bad Times at the El Royale ★★★★

Bad Times at the El Royale feels like a throwback to Tarantino in all his 90’s pomp.

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Director: Drew Goddard

Stars: Dakota Johnson, Cynthia Erivo, Jeff Bridges, Jon Hamm, Chris Hemsworth, Lewis Pullman

Released: 12th October 2018 (UK)

Bad Times at the El Royale has seemingly fallen foul of the particularly hectic October release schedule in the U.K. As Venom and A Star is Born dominate the box-office and with the London Film Festival in full swing, El Royale has not received the recognition it deserves.

Boasting an impressive cast, Bad Times at the El Royale follows seven strangers whose stories intertwine at the El Royale hotel in Lake Tahoe. As each person’s agenda for being at the El Royale is revealed, tensions inevitably rises and the characters collide.

From the get-go, El Royale feels like a throwback to Tarantino in all his 90’s pomp. Director Drew Goddard, no stranger to managing madness following his debut A Cabin in the Woods, has crafted an immersive, intricately linked murder-mystery that feels like a grindhouse version of Cluedo. The violence is garish but necessary, the dialogue is short and snappy and the characters are most importantly, interesting. The hardest part of any film with so many moving parts, is making the audience actually bond with those involved. Goddard, who also wrote the screenplay, has nailed this – giving enough back-story for each, whilst holding enough back to keep us learning more.

Between Jeff Bridge’s bad-ass priest, Dakota Johnson’s kill-happy hippy and Chris Hemsworth’s dancing cult-leader, the wider cast have somehow managed to create a credible on-screen dynamic, despite the stark character contrasts. Cynthia Erivo’s soulful singer Darlene is the obvious standout and her interactions with Bridge’s Father Flynn provide some of the most film’s most satisfying scenes. Lewis Pullman’s unassuming concierge Miles is another strong performance deserving of a mention.

The film swaggers along accompanied by its killer soundtrack, which plays a crucial part in the films tonal change from chapter to chapter. It’s dark and violent, yet at times it’s engaging and even emotional. The sharp edits that mash-up the timeline don’t over-complicate the plot, but accentuate the frenzied feeling that Goddard is creating as we head towards the plot’s crescendo.

As expected there are some areas where a film with so much going on inevitably suffers. Jon Hamm’s Seymour is arguably the biggest victim of this, with his character perhaps not utilised as much as it could have been. The film also feels a little too fleshed out in parts, lingering on some of the less necessary aspects and leaving one or two plotlines unexplored as a result.

Bad Times at the El Royale really does feel like a Tarantino movie and that’s no mean feat, Goddard has taken his own style and applied tried and tested techniques to create a compelling, genuinely exciting movie and one that deserves to be enjoyed by a wider audience.

 

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Movie Reviews

LFF 2018 Review – Arctic ★★★★

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Released: 5 December 2018

Directed by: Joe Penna

Starring: Mads Mikkelsen, Maria Thelma Smáradóttir

Reviewed by: Lauren Tina Brady

An expanse of white as far as the eye can see, gently sloping mountains in the horizon, a polar bear pads silently across the snow, pausing briefly to gaze back at the watching man across the valley.

At first Arctic reads as a classic survival narrative; the basic man vs. nature conundrum. I’d recently seen The Mountain Between Us, which draws some very obvious similarities; plane crash, hostile snowy environment, a great expanse needing to be crossed for a chance of survival. However, unlike relying on the pairing of Kate Winslet and Idris Elba for context,  Arctic’s dialogue is bare. This is largely due to the fact that there is only the protagonist for the first third of the film, played by Mads Mikkelsen.

At first it appears to lull you into that false sense of security of knowing exactly how this works out; he sticks to a routine of catching fish, laying out black rocks spelling ‘help’ against the snow and signalling for nearby aircraft. However, crucially, we don’t know who he is. He speaks very little, in both Danish and English. He offers no information to help us piece together a backstory and remains an enigma throughout, which feels fresh. The character becomes more than a person; he becomes the flicker of hope for survival, the spectrum of emotions that occur in the darkest of hours.

There is plenty of drama to keep us on the edge of our seats; he has a chance of escape quite early on – a small helicopter has spotted him and attempts to make it’s way towards him in strong winds leading to a crash. There are two people on board; one is killed with the other, a woman (Maria Thelma Smáradóttir), who survives but is badly hurt and must be cared for. Suddenly the odds of both surviving are halved; the danger is intensified.

Here is a tale of endurance over survival. This is where Mikkelsen excels; he digs deep to portray every possible emotion through a gruelling and ice-cold journey. He is silent but his face says everything. I laughed in delight, I wept quietly. It’s hard to imagine anyone else playing this role.

It’s a feat for Joe Penna, directing his feature film debut. See it for Mikkelsen, stay for the sensitive direction and the stunning cinematography.

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Movie Reviews

LFF 2018 Review – Museum ★★★★

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Director: Alonso Ruizpalacios

Stars: Gael García Bernal, Leonardo Ortizgris, Alfredo Castro

Released: London Film Festival 2018

It’s Christmas Day, 1985. College dropouts Juan Nunez and Benjamin Wilson are ready to pull off an audacious heist that will have authorities searching for professional art thieves for years. Based on a true story, Alonso Ruizpalacios’ film sees the duo attempt to steal 140 priceless artefacts from the National Museum of Anthropology in Mexico City. Winner of the Silver Bear for Best Screenplay at Berlin International Film Festival earlier this year, Museum explores the mindsets of two would be criminals with nothing to lose.

The tale is narrated by Wilson, played with subtle compassion by Leonardo Ortizgris. Wilson’s role is much like Nick’s in The Great Gatsby, an opinionated and somewhat loyally biased eye through which Juan is diluted. Played by Gael Garcia Bernal, Juan is the film’s focus, a Mexican Cool Hand Luke drifting through his young adulthood. In the hands of another actor, Juan may have come off as entitled, lazy even, but Bernal’s performance layers the character with sympathetic naivety and relatable desire. A perennially youthful, multifaceted actor, Bernal paints buckets of emotion into every micro-expression.

The crime takes place after Christmas dinner, a lively family affair that sees Juan alienated and berated. At first, the silence is reminiscent of the hanging scene from Mission: Impossible; the tension equally palpable. But soon the action changes, pared back to a static style similar to the panels of a comic book. It is a technique repeated throughout the film, the continuity broken up into freeze frames that are not quite motionless, still alive with a touch of movement. Reducing these scenes to a childlike fantasy, Ruizpalacios succeeds in creating the ultimate sense of idyllic, youthful adventure.

Something often ignored in heist films is the aftermath, when the thieves must deal with the fallout of their decisions. Museum’s second act focuses on this aspect, allowing the introduction of an English art dealer, played by the superb Simon Russell Beale. Uncertainty builds from the start of their meeting, as the camera endlessly pans until Juan’s misguided perceptions come crashing down around him. In a script littered with intelligence and comedy, it is a pleasant surprise to see the characters’ raw emotion become the focal point.

Ruizpalacios seems content to pose questions that hang wispily in the air, unanswered: questions of cultural ownership, of morality and greed. He is more interested in the character study at the heart of this story, of a man who commits a crime out of boredom, a sense of nihilism or a desire for adventure, or perhaps a little of all three. It is a fresh idea in a crowded genre, making for a film that is impressive but never quite brilliant, a wonderful adventure that doesn’t aim to blow minds. But does that matter? As Juan says and Wilson relays: “Why let the truth ruin a good story?”, a sentiment Ruizpalacios takes quite literally. Luckily for him, Museum is without a doubt a good story.

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