Fans of the original, anyone grieving a parent, and people who believe that every problem can be solved with a choreographed dance number on a Greek pier.
A Sun-Drenched Soap Opera: Why Mamma Mia! Here We Go Again Outshines the Original
The biggest risk was recasting the iconic Meryl Streep. While Streep appears in a brief, devastating cameo, the film wisely pivots to Lily James. The gamble pays off spectacularly. James doesn’t imitate Streep; she embodies the idea of a young Donna—reckless, vulnerable, and fiercely independent. Her rendition of “Andante, Andante” is so softly sensual it feels like a secret, and her solo version of “My Love, My Life” is a masterclass in musical acting.
In the past (1976), we meet a 22-year-old Donna (Lily James) as she graduates Oxford and embarks on a backpacking trip across Europe. We watch her stumble, literally and figuratively, into the arms of the three men who will become Sophie’s potential fathers: the earnest Harry (Hugh Skinner), the brooding Bill (Josh Dylan), and the dreamy Sam (Jeremy Irvine). Mamma Mia- Here We Go Again
Mamma Mia! Here We Go Again is a rare sequel that doesn’t just replicate the original—it deepens it. By swapping frantic stage energy for genuine, bittersweet melancholy wrapped in ABBA gold, director Ol Parker delivers a jukebox musical that will make you cry just as hard as you dance.
Mamma Mia! Here We Go Again is a mess, but it is a beautiful, intentional mess. It is too long, the present-day plot is undercooked, and it relies heavily on your tolerance for schmaltz. But when it works—specifically during Lily James’s sun-drenched odyssey and the final tear-jerking tribute—it works better than any jukebox musical has a right to.
The film operates on two timelines. In the present (five years after the first film), Sophie (Amanda Seyfried) is preparing the grand reopening of the Hotel Bella Donna in honor of her late mother, Donna. When a storm leaves her stranded alone, she panics, questioning her relationship with Sky and her ability to live up to her mother’s legacy. Fans of the original, anyone grieving a parent,
The film’s climax is what elevates it to greatness. Without spoiling the ending, the final 20 minutes abandon comedy entirely. Using the song “My Love, My Life,” the film delivers a haunting, beautiful meditation on grief and inheritance. When the full cast assembles for the encore of “Super Trouper,” you realize the film isn’t about finding a father—it’s about becoming a mother. It turns the franchise’s shallow hedonism into a profound statement about loss.
Whereas the first film sometimes hammered songs into the plot like a square peg, Here We Go Again lets the music breathe. The standout sequence is the French château scene set to “Waterloo.” It is a glorious, absurd, perfectly choreographed farce involving waiters, flying champagne, and a confused fire alarm. It is pure joy.
★★★★☆ (4/5)
Furthermore, the chemistry between the original "Three Dads" (Stellan Skarsgård, Colin Firth, and Pierce Brosnan) feels tired. Brosnan’s singing has not improved, but mercifully, he has fewer solos. The film struggles to find a purpose for these beloved characters other than nostalgic cameos.
You hate ABBA, you despise deus ex machina plot devices, or you have a low tolerance for Pierce Brosnan’s singing voice.
But the sequel’s secret weapon is the deep cuts. Moving beyond Gold , the soundtrack utilizes The Visitors and other later tracks. “When I Kissed the Teacher” becomes a raucous college graduation anthem, while “I’ve Been Waiting for You” transforms a simple dinner scene into a spiritual reunion. While Streep appears in a brief, devastating cameo,