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There’s not a better trio of respective dads than the likes of Stellan
Skaarsgard, Pierce Brosnan and Colin Firth, all of whom are quite
entertaining in their hapless roles as men pulled in to a wedding of a
girl that may be their long lost daughter. Probably the stand out is
Pierce Brosnan who presents a great chemistry off of Meryl Streep as
Sam, the man pushed away after a brief fling. These three are never
afraid to get goofy in their performances and can handle the singing
quite well when they need to. Amanda Seyfried is given a big
responsibility to carry the role of Sophie, an idyllic dreamer who hopes
to find her father bringing the entire scenario together and shines
vocally and charismatically as this young girl who uses her wit to bring
together this group of people to bring closure to her biggest question.
Seyfried handles the role well and she’s a thrill to watch.
How sick is it that I’ve been actually interested in watching “Mamma
Mia!”? Perhaps it’s because of my general love for musicals, perhaps
it’s thanks to the lovely Amanda Seyfried, or maybe it’s because I
just like the cast. But for a movie that’s based on a musical I’ve
never seen inspired by a band I kind of like who sing music that’s
only okay, “Mamma Mia!” has been a source of great interest since
January. Don’t ask why. Maybe that’s just the continued power of
ABBA whose music is cheesy and clunky but still manages sneak in to
your brain and rest there until you’re willing to admit that they’re
not so bad, after all. It was only a matter of time until “Mamma
Mia!” was turned in to a movie, due to its success on Broadway, but
the range of musicals of late has not been the most inspiring;
particularly the mainstream outputs as we’ve seen the genre from
mediocre (“Dreamgirls”) to plain abysmal (“RENT”) with the best of
the best being released right under our radar (“Once”). I think
there will be a specific audience to which “Mamma Mia!” will appeal
to, and sadly I doubt I’m a part of that audience. I approached the
adaptation of the musical with sheer optimism and found that “Mamma
Mia!” is often too hokey to really involve myself with.
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Fans of the Broadway musical may
find an easy accessibility, but general audiences may not
find much here in the way of entertainment. Director
Phyllida Lloyd‘s vision of the musical is often very corny
relying on flashbacks and cheesy sight gags that are utter
misses with no real clarification on whether the intent is
to inspire laughter, or eye rolls. This musical may
definitely inspire an eye roll or two as the scenes of
instant singing are rather awkward to watch, particularly
when Meryl Streep tries her damndest to pull off her
vocalization. |
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Streep could never really convince me she was this character, and
sly wit and enthusiasm didn’t particularly win me over to the
personality of this ex-hippie. One of these men has to be Sophie’s
father, so why don’t I care? While it’s seemingly destined to grab
some cash from hardcore fans of the stage version, folks like me
will be left out of the cold with a dramatic tension that’s never
quite urgent as the premise lets on. And right when we get to the
big reveal as to which of the three sperm donors are her father,
we’re literally left in the cold with many questions raised that are
ignored undermining the entire premise and the reason why we came to
watch, which the story tries to conceal by staging a big confession
scene in front of an audience that seems ripped from the laziest
wedding romances we’ve seen over and over again. Chalk up another
mediocre movie musical to the gallery.
The cast are an
utter highlight, but as I tried my best to arouse optimism and interest,
“Mamma Mia!” never rose to the occasion in being more than clunky
mediocre and maudlin musical fodder with a sitcomish storyline and
strained performances by the leads.
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