MAMMA MIA! HERE WE GO AGAIN

Lily James     Amanda Seyfried     Meryl Streep     Dominic Cooper     Pierce Brosnan     Stellan Skarsgard

Christine Baranski     Colin Firth     Cher     Julie Walters     Jeremy Irvine     Andy Garcia

     I think the best things about this film are ABBA’s songs from the first Mamma Mia and Meryl Streep’s reprise at the end.  Oh, well, and yes, the local woman telling a young man where to get off after he “did a woman wrong” and then wanted to return to her arms. She is a lovable, wise character who makes you chuckle at her and cheer her on at the same time.  Although Benny Andersson, a member of ABBA, and two colleagues, Anne Dudley and Bjorn Ulvaeus (also involved in the first production), supply most of the music here, it doesn’t have the draw the earlier rendition had.  Part of the responsibility may lie with the director and co-writer, Ol Parker.

     The filmmakers have valiantly tried to recapture the moods, atmosphere, and humor of the first Mamma Mia! (2008) and even 2016's La La Land, but never quite achieve the lyrical magic of those productions.  Instead, I found it to be jarring in its disjointed cuts from one scene to the next without natural transitions; the songs appear to be inserted haphazardly, even though they’re clearly intended to wedge the viewer into an emotion of the moment.  The dialog is unnatural and even vacuous at times, such as, “Nothing is that simple.” “Everything is, when you break it down.”  Everything: really?  People fall in love instantaneously, and sometimes when they break up, the songs reflect a much deeper relationship than could possibly have occurred. 

     The story is a continuation of the first Mamma Mia!  Donna (Streep) has died, and her daughter Sophie (James, Seyfried) wants to refurbish Donna’s villa and stage a party that will honor her mother. She is still grieving her mother’s passing, and invites her three fathers (Brosnan, Skarsgard, Firth) and Donna’s closest friends (Baranski, Walters) to come to the villa on a Greek island for the special occasion.  Sophie is engaged to Sky (Cooper), whose business has stationed him in New York, leading them to the decision to suspend their engagement.  The party is all set up, but in the interim, there will be a storm that damages the villa and other distractions, namely, Sophie’s becoming involved with various suitors ([her engagement to Sky (Cooper) has been suspended.]  Somehow, even though Sophie goes on boat rides and long walks, she still manages to keep the villa intact, perhaps because of the efforts of one of her fathers, Sam (Brosnan).

     At any rate, the party does take place, old acquaintances/loves are renewed, and a surprise guest (Cher) suddenly appears, with a touching rapprochement between her and Fernando (Garcia).  In the end, Donna is duly honored, and everyone present feels gratified.  

This is a musical without the exquisite blending of fantasy, reality, and art that some of its predecessors (e.g., La La Land) have achieved.

Grade:  D+                                    By Donna R. Copeland

NO ESCAPE

Lake Bell     Owen Wilson     Pierce Brosnan

           There is no escaping the relentless strain of one close call after another in No Escape.  It starts out with gunfire and a slit throat, which should tell you something about what is to come.  The premise of the film is a good one; after his business fails, Jack Dwyer (Wilson) takes his family to his new job in an unspecified Asian country completely unaware of the political unrest brewing.  The natives are wising up to big companies coming into their country and exploiting them (e.g., privatizing their water supply on the stated intention of water purification), the business of Jack’s new company.  As soon as the Dwyers (Bell as Annie) arrive in the country and register in a hotel, the gunfire starts, phones don’t work, and snow comes on the TV.  A coup is suddenly taking place.

           But throughout the rest of the film the Dwyers with their two young girls in tow, are running, running, running, jumping from one building to another, hiding underneath something to avoid the mobs and gunshots, fighting (literally) for their lives, and trying to strategize plans and make their way to safety in a city completely new to them.  Not much happens beyond the close calls.  Hammond (Brosnan), whom the Dwyers meet on the plane when one daughter asks about his scars, is a mysterious fellow who magnanimously offers them a ride to their hotel, and suddenly reappears just the nick of time on several occasions.

           Owen Wilson is much better known for lighter roles (except for Behind Enemy Lines), but steps up to a more complicated role here of being a nice guy, good husband and father, and then compelled to protect his family at all costs.  He and Bell have good chemistry as a husband and wife, and both actors are exemplary in their performances.  Brosnan is perfect for his (by now expected) role of someone who is ambiguous initially, but ends up being a hero.

           My problem with this film is the script.  I cannot see the purpose of a movie that has one close call after another for the entire film.  There is little comic relief or even dialog that reflects the humanity of anyone, except perhaps for a conversation between Jack and Annie toward the end.  The Dwyers are constantly quarreling with one another about strategy, and the kids’ roles seem like they’re written by someone who doesn’t know kids at all.  The girls—especially the older one—end up being rather annoying—which shouldn’t happen in this kind of film!

           How much better it would have been if the writer/director John Erick Dowdle (written with his brother and producer Drew) had offered more background on Jack’s new company, on the brewing unrest within the foreign country, of Jack’s failed business, and the relationship between Jack and Annie before the action, all of which could have eliminated some of the too numerous close calls and senseless violence.  As it is, the film goes far beyond plausibility.  And as an aside, who would go to live in a foreign country without making any attempt to learn a few basics about the language?

Moviegoer beware unrelenting violence of almost every kind.  This is an action film with little else.

Grade:  C-                        By Donna R. Copeland