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Kevin Phillipson (9912 KP) rated Aliens (1986) in Movies
Feb 23, 2018
Ripley (1 more)
Queen alien
This time its war
Ripley is back for this time she brings an army with her just as good as the orignal with james cameron dierecting the sequel this time giving us queen alien weaver is brillant as ripley so is the rest of the cast get away from u bitch classic line best of the sequels
Randy Andrews (3 KP) rated Aliens (1986) in Movies
Apr 29, 2017
Great Sequel
Aliens, being the long standing sequel set 57 years later certainly gets the action going right away. Sigourney Weaver plays the character fantastic and James Cameron directs the film in his frenetic style. Love the mechs! The acting for the supporting cast isn't stellar but for science fiction it's workable. Clearly one of my more favorite movies. The score by James Horner was composed quickly but effectively. This gives us one of the best action cues of all time.
Awix (3310 KP) rated Aliens (1986) in Movies
Feb 20, 2018
James Cameron's muscular sequel doesn't muck about admiring the art direction or trying to be atmospheric, but reinvents the original movie as a gut-busting action thriller. Slimy corporate types have colonised the planet on which a lethal alien predator was discovered in the first film; now contact has been lost and sole survivor Ripley is sent in with the troops to investigate. The ultimate fate of the cat remains a mystery.
After a long, tense build-up, once the action kicks off the film feels relentless, and in the Queen Alien it comes up with a monster just as iconic as the original creature. Great ensemble cast led by Weaver, terrific set pieces, interesting subtext about the maternal instinct. Every other Alien film since has been judged by the standards established here.
After a long, tense build-up, once the action kicks off the film feels relentless, and in the Queen Alien it comes up with a monster just as iconic as the original creature. Great ensemble cast led by Weaver, terrific set pieces, interesting subtext about the maternal instinct. Every other Alien film since has been judged by the standards established here.
Barry Newman (204 KP) rated Aliens (1986) in Movies
May 7, 2020
Revisited this for the first time in ages and there’s still no other way of describing it than simply a masterpiece. Watching the theatrical version and the slow build up of tension in the first half building up to the action packed final battle between Ripley and the alien queen is such brilliant story telling and just so well paced. James Cameron follows the Jaws approach and doesn’t show you the slightest hint of an alien till nearly an hour into the film and is far stronger for it. The whole cast are great but the films ace is of course Sigourney Weaver ,she is a total bad ass here and one of cinemas all time great heroines. You are also reminded at what a talent James Cameron was before declaring himself ‘king of the world’. I would love to see him doing something like this or T2 again rather than wasting years on the 172 sequels to Avatar that nobody really wants.
(The special edition of the film is nearly 20 minutes longer and has some interesting moments but in my opinion slows things down a bit too much and you can see why these scenes were removed for the theatrical version)
(The special edition of the film is nearly 20 minutes longer and has some interesting moments but in my opinion slows things down a bit too much and you can see why these scenes were removed for the theatrical version)
LeftSideCut (3778 KP) rated Aliens (1986) in Movies
Feb 13, 2020
An absolute screamer of a sequel
Aliens may very well be the best sequel of all time, if not it's certainly up there!
The original Alien is about as perfect as sci-fi horror can get, so it was a smart move on James Cameron's part to not recycle that again, and take Alien in a different direction.
The slow burning, claustrophobic high tension of the original is replaced here with all out war.
The simple idea of multiple Xenomorphs is effective and terrifying, and packs the runtime of Aliens with top tier action.
Sigourney Weaver returns as Ellen Ripley, and whilst she was a tough yet vulnerable survivor first time around, here we get to see her vulnerability crumble away. By the time the final act kicks in and Ripley is decked out in a mech...she just a badass from here on out.
She's is joined by a group of gun toting, 80s as fuck mercenaries, including the likes of Michael Biehn (fresh from the recently released, first Terminator movie), Bill Paxton, Al Matthews, Jenette Goldstein, and of course Lance Henriksen as Android, Bishop. It's a fantastic cast, who all end up mattering one way or another, even the ones who don't last very long.
The Xenomorphs themselves look as horrifying as ever, still practically achieved, and have an urgent sense of visceral danger whenever they're on screen.
Aliens is also the debut if the Alien Queen, a classic staple of the series since.
No matter how much time goes by, Aliens never fails to be entertaining, and still looks great. It's James Cameron at the top of his game.
The original Alien is about as perfect as sci-fi horror can get, so it was a smart move on James Cameron's part to not recycle that again, and take Alien in a different direction.
The slow burning, claustrophobic high tension of the original is replaced here with all out war.
The simple idea of multiple Xenomorphs is effective and terrifying, and packs the runtime of Aliens with top tier action.
Sigourney Weaver returns as Ellen Ripley, and whilst she was a tough yet vulnerable survivor first time around, here we get to see her vulnerability crumble away. By the time the final act kicks in and Ripley is decked out in a mech...she just a badass from here on out.
She's is joined by a group of gun toting, 80s as fuck mercenaries, including the likes of Michael Biehn (fresh from the recently released, first Terminator movie), Bill Paxton, Al Matthews, Jenette Goldstein, and of course Lance Henriksen as Android, Bishop. It's a fantastic cast, who all end up mattering one way or another, even the ones who don't last very long.
The Xenomorphs themselves look as horrifying as ever, still practically achieved, and have an urgent sense of visceral danger whenever they're on screen.
Aliens is also the debut if the Alien Queen, a classic staple of the series since.
No matter how much time goes by, Aliens never fails to be entertaining, and still looks great. It's James Cameron at the top of his game.
Mekhi Phifer recommended Aliens (1986) in Movies (curated)
David McK (3162 KP) rated Aliens (1986) in Movies
Jun 23, 2020 (Updated Mar 16, 2022)
The action (1 more)
Powerloader scene
James Cameron's sequel to Ridley Scott's 'Alien', set 57 years later and turning the 'haunted-house' setup of the original into a full-blown Vietnam war movie metaphor, with the sole survivor of the Nostromo, Ellen Ripley (a career best Sigourney Weaver) rescued and woken up from hypersleep by The Company, and convinced to return to the planet where she first encountered the Xenomorph, when they suddenly lose contact with the colonists on said planets.
The Extended Edition of the movie adds even more context, with the revelation that Ripley had a daughter who has since died, to the 'found family' at the heart of the narrative - especially between Newt and Ripley herself - while Bill Paxton has the honour(?) of becoming the only actor to be killed by a Predator, an Alien and a Terminator, as one of the (initially) cocksure Colonial Marines trapped behind enemy lines.
Top it off with the iconic final act (Ripley in a Powerloader Vs the Alien Queen) and some eminently quotable lines throughout:
"Game over, man! Game Over!!"
"They mostly come at night, mostly …"
"I say we take off and nuke the entire site from orbit. It's the only way to be sure"
"Get away from her, you b..."
And we have what most surely be one of the best sequels ever. Even, in my opinion, eclipsing the original.
It's just a pity it's all downhill from here ...
The Extended Edition of the movie adds even more context, with the revelation that Ripley had a daughter who has since died, to the 'found family' at the heart of the narrative - especially between Newt and Ripley herself - while Bill Paxton has the honour(?) of becoming the only actor to be killed by a Predator, an Alien and a Terminator, as one of the (initially) cocksure Colonial Marines trapped behind enemy lines.
Top it off with the iconic final act (Ripley in a Powerloader Vs the Alien Queen) and some eminently quotable lines throughout:
"Game over, man! Game Over!!"
"They mostly come at night, mostly …"
"I say we take off and nuke the entire site from orbit. It's the only way to be sure"
"Get away from her, you b..."
And we have what most surely be one of the best sequels ever. Even, in my opinion, eclipsing the original.
It's just a pity it's all downhill from here ...
BankofMarquis (1832 KP) rated Avatar: The Way of Water (2021) in Movies
Jan 2, 2023
Strong Visuals - Weak Everything Else
See AVATAR: THE WAY OF WATER on the biggest 3D Screen, with the best Sound System possible. It is a technical marvel…way ahead of anything that has, thus far, been seen on a movie screen.
It’s too bad the story (and characters) lag far behind.
Taking the audience back to the world of Pandora, AVATAR: THE WAY OF WATER treads familiar territory as Director James Cameron returns us to this idyllic planet, with the natives living peacefully, in concert with the land, until the soldiers from Earth show up (again) to strip the planet of it’s native contents (again).
Cameron (TITANTIC) expands this 3D World, bringing the audience from the trees to the water - and what an expansion this is! It is a BEAUTIFUL film to watch and Cameron (as one would expect) expertly pushes the technological edges of the industry, bringing us stunning visuals underwater. It is this part of the more than 3 hour film that is worth the price of admission alone. It is a feast for the eyes.
But what Cameron (and his FOUR writers of the script - never a good sign) fail to do is to add interesting characters and stories to these amazing visuals. It is a pretty straight forward telling of Good (the native peoples) vs. Evil (the invading soldiers from Earth). There is no nuance or subtly whatsoever throughout this film.
Back from the first film are Sam Worthington (just as wooden and uninteresting), Zoe Saldana (just as underused) and Stephen Lang (just as one-note as the villain). Obviously, it is just their voices used - for they are all rendered as Pandorans via motion-capture - but they don’t have much to do except be one with the nature (the good guys) or destroy nature (the soldiers).
Joining the cast - and just as underused - are Cliff Curtis, CCH Pounder and, especially, Kate Winslet. Cameron brings in some really fine performers who have to spout wooden dialogue that would make George Lucas blush - all the while performing in motion capture suits. This movie could have been so much better had Cameron given these actors something better and more interesting to do.
The only exception to this is the young actress (so I thought) that portrayed Kiri - who is the daughter of the Sigourney Weaver character from the first film. This Pandoran was born under mysterious circumstances (Virgin birth? Do we have a Messiah?) and is more in tune with the nature of the world they live in. This young actress had the most interesting things to do and she absolutely nailed it, so I should not have been surprised to find out that this “young actress” was none other than - Sigourney Weaver.
Well done, Cameron and Weaver. You got me on this one.
This film (the second in what will be a trilogy - or maybe more) has a run time of over 3 hours - so be warned - but Cameron keeps things moving along at a sprightly pace, never lingering over the clunky dialogue, but stopping to watch the beautiful visuals along the way.
AVATAR: THE WAY OF WATER is worth watching for the water and the stunning visuals…but not for much else.
Letter Grade: B+ (10 for the visuals, 5 for the story)
7 1/2 stars (out of 10) and you can take that to the Bank(ofMarquis)
It’s too bad the story (and characters) lag far behind.
Taking the audience back to the world of Pandora, AVATAR: THE WAY OF WATER treads familiar territory as Director James Cameron returns us to this idyllic planet, with the natives living peacefully, in concert with the land, until the soldiers from Earth show up (again) to strip the planet of it’s native contents (again).
Cameron (TITANTIC) expands this 3D World, bringing the audience from the trees to the water - and what an expansion this is! It is a BEAUTIFUL film to watch and Cameron (as one would expect) expertly pushes the technological edges of the industry, bringing us stunning visuals underwater. It is this part of the more than 3 hour film that is worth the price of admission alone. It is a feast for the eyes.
But what Cameron (and his FOUR writers of the script - never a good sign) fail to do is to add interesting characters and stories to these amazing visuals. It is a pretty straight forward telling of Good (the native peoples) vs. Evil (the invading soldiers from Earth). There is no nuance or subtly whatsoever throughout this film.
Back from the first film are Sam Worthington (just as wooden and uninteresting), Zoe Saldana (just as underused) and Stephen Lang (just as one-note as the villain). Obviously, it is just their voices used - for they are all rendered as Pandorans via motion-capture - but they don’t have much to do except be one with the nature (the good guys) or destroy nature (the soldiers).
Joining the cast - and just as underused - are Cliff Curtis, CCH Pounder and, especially, Kate Winslet. Cameron brings in some really fine performers who have to spout wooden dialogue that would make George Lucas blush - all the while performing in motion capture suits. This movie could have been so much better had Cameron given these actors something better and more interesting to do.
The only exception to this is the young actress (so I thought) that portrayed Kiri - who is the daughter of the Sigourney Weaver character from the first film. This Pandoran was born under mysterious circumstances (Virgin birth? Do we have a Messiah?) and is more in tune with the nature of the world they live in. This young actress had the most interesting things to do and she absolutely nailed it, so I should not have been surprised to find out that this “young actress” was none other than - Sigourney Weaver.
Well done, Cameron and Weaver. You got me on this one.
This film (the second in what will be a trilogy - or maybe more) has a run time of over 3 hours - so be warned - but Cameron keeps things moving along at a sprightly pace, never lingering over the clunky dialogue, but stopping to watch the beautiful visuals along the way.
AVATAR: THE WAY OF WATER is worth watching for the water and the stunning visuals…but not for much else.
Letter Grade: B+ (10 for the visuals, 5 for the story)
7 1/2 stars (out of 10) and you can take that to the Bank(ofMarquis)
Gareth von Kallenbach (962 KP) rated Avatar (2009) in Movies
Aug 8, 2019
With a budget reported to be around $400 million dollars and a four year production cycle, “Avatar” by James Cameron is poised to usher in a new age in digital fx and 3d.
The film is set in 2154 and involves a disabled vet named Jake (Sam Worthington), who is sent to the distant moon of Pandora following the death of his brother.
It is learned that Pandora possesses a highly valuable resource that sells on the resource ravaged earth for $200 million a kilo and, which naturally sets off a frenzy of mining on the moon.
With the cultivation of the resource at a premium a facility has been established to ensure a constant mining operation and protect those on the base from the hostile wildlife that is everywhere.
While the wildlife on Pandora is a big issue, it pales in comparison to the issues poised by the native Na’vi who are a blue-skinned race who live in the forests of the moon and are in harmony with the nature of the planet which have caused them to hamper the mining efforts of the humans.
Anxious to keep the mining operations going, and limit the use of brute force to avoid any p.r. issues, a program known as “Avatar” is put into motion which allows select individuals to pilot a surrogate made from Na’vi and human D.N.A. in an effort to get the Na’vi to move and end their opposition to the mining.
It is hoped that the pilots will in time find a way to force the cooperation of the Na’vi after spending time amongst them.
Jake is thrilled with the program as once his remote link is established, he is free to run and jump again and in time finds himself absorbed by the Na’vi who wish to show him their ways as a test of his worthiness after he is separated from his fellow humans.
At this point Jake leads a double life as his surrogate learns what it is to be Na’vi and when the surrogate is asleep, Jake unhooks himself from his control bed, and is back on the base with his fellow humans. Jake is approached by Colonel Quaritch (Stephen Lang), who tasks the Marine to obtain tactical data on the Na’vi should his forces be called into action to force their cooperation. Jake is promised a costly procedure in return which would allow him to regain the use of his legs and live a life outside of his wheelchair.
As time passes, Jake grows closer to his Na’vi mentor Neytire (Zoe Saldana), who aside from being the daughter of the chief is a skilled hunter for her people. At this point Jake begins to question the motives and methods of his people and sees the exploitation and possible massacre of the Na’vi as something he can no longer accept. Jake puts a plan in motion to protect his human and Na’vi friends and what follows is an epic confrontation that is awash in visual splendor and action as James Cameron once again pushes the boundaries of technology.
Some may cite the story as resembling “Dances with Wolves’; and other films that deal with the exploitation of the native races, but the true magic of the film is that it is not limited to the lavish visuals but is instead powered by the compelling characters.
The 3d fx shine as Cameron has created another world with a thriving ecosystem that is as much a character in the film as the flesh and blood and digital creations that power the story.
The film has good supporting work from Sigourney Weaver, and Michelle Rodriquez as well as the fine ensemble cast. The amazing blend of story, digital splendor, and characters all combine to make “Avatar” a truly amazing visual film with a strong message of love, hope, and unity. James Cameron has once again proved that he is one of the true masters of cinema and has crafted a magical experience that enchants and informs.
The film is set in 2154 and involves a disabled vet named Jake (Sam Worthington), who is sent to the distant moon of Pandora following the death of his brother.
It is learned that Pandora possesses a highly valuable resource that sells on the resource ravaged earth for $200 million a kilo and, which naturally sets off a frenzy of mining on the moon.
With the cultivation of the resource at a premium a facility has been established to ensure a constant mining operation and protect those on the base from the hostile wildlife that is everywhere.
While the wildlife on Pandora is a big issue, it pales in comparison to the issues poised by the native Na’vi who are a blue-skinned race who live in the forests of the moon and are in harmony with the nature of the planet which have caused them to hamper the mining efforts of the humans.
Anxious to keep the mining operations going, and limit the use of brute force to avoid any p.r. issues, a program known as “Avatar” is put into motion which allows select individuals to pilot a surrogate made from Na’vi and human D.N.A. in an effort to get the Na’vi to move and end their opposition to the mining.
It is hoped that the pilots will in time find a way to force the cooperation of the Na’vi after spending time amongst them.
Jake is thrilled with the program as once his remote link is established, he is free to run and jump again and in time finds himself absorbed by the Na’vi who wish to show him their ways as a test of his worthiness after he is separated from his fellow humans.
At this point Jake leads a double life as his surrogate learns what it is to be Na’vi and when the surrogate is asleep, Jake unhooks himself from his control bed, and is back on the base with his fellow humans. Jake is approached by Colonel Quaritch (Stephen Lang), who tasks the Marine to obtain tactical data on the Na’vi should his forces be called into action to force their cooperation. Jake is promised a costly procedure in return which would allow him to regain the use of his legs and live a life outside of his wheelchair.
As time passes, Jake grows closer to his Na’vi mentor Neytire (Zoe Saldana), who aside from being the daughter of the chief is a skilled hunter for her people. At this point Jake begins to question the motives and methods of his people and sees the exploitation and possible massacre of the Na’vi as something he can no longer accept. Jake puts a plan in motion to protect his human and Na’vi friends and what follows is an epic confrontation that is awash in visual splendor and action as James Cameron once again pushes the boundaries of technology.
Some may cite the story as resembling “Dances with Wolves’; and other films that deal with the exploitation of the native races, but the true magic of the film is that it is not limited to the lavish visuals but is instead powered by the compelling characters.
The 3d fx shine as Cameron has created another world with a thriving ecosystem that is as much a character in the film as the flesh and blood and digital creations that power the story.
The film has good supporting work from Sigourney Weaver, and Michelle Rodriquez as well as the fine ensemble cast. The amazing blend of story, digital splendor, and characters all combine to make “Avatar” a truly amazing visual film with a strong message of love, hope, and unity. James Cameron has once again proved that he is one of the true masters of cinema and has crafted a magical experience that enchants and informs.
Bob Mann (459 KP) rated Mamma Mia: Here We Go Again! (2018) in Movies
Sep 29, 2021
I had a dream. A sob. A sing.
You remember in “Aliens” when Ripley (Sigourney Weaver) fought through hell and high water against that “bitch” to protect the youngster Newt (Carrie Henn)? And then how betrayed you felt in that emotional investment at the start of “Alien 3”?
Which brings us spoiler-free to the start of “Mamma Mia! Here We Go Again”, typically shortened by everyone to “Mamma Mia 2”, the sequel to the enormously successful cheese-fest (and Bros-fest) that was the first film, now – unbelievably – 10 years old.
Sophie (Amanda Seyfried) is trying to open the Bella Donna hotel on that magical Greek island separated from her husband Sky (Dominic Cooper) who is learning the tips of the hotel trade in New York. As preparations for the opening party progress we flash back to the back-story of Donna (as a post-graduate played by Lily James) as she meets Harry (Hugh Skinner, “The Windsors”, “W1A”), Bill (Josh Dylan, “Allied”) and Sam (Jeremy Irvine, “War Horse”) en route to Greece.
If you remember the first film and thought Donna (Meryl Streep) was a bit of a… erm… ‘loose woman’, then this plot point could have been amplified by seeing the “dot, dot, dot” acts in the flesh, as it were. Fortunately, in steps Lily James as the young Donna who is so mesmerisingly gorgeous and vivacious that you can forgive her just about anything. “Beguiling” was the description my better half came up with, and I couldn’t describe her better. Supporting her effectively are Alexa Davies (as the young version of Julie Walters‘ character) and Jessica Keenan Wynn (as the young version of Christine Baranski‘s character). The trio’s exuberant performance of “When I Kissed the Teacher” sets the tone well for the grin-fest to follow. (By the way, if you are a Mary Poppins fan then a bit of trivia is that Wynn is the great-granddaughter of Ed Wynn, the character who “Loved to Laugh” on the ceiling!).
In these days of drought, Trump vs the world, Brexit and universal bruhaha, this is a much-needed joyful film, and far better I would say than the original. A good story, well executed and stuffed with excellent tunes. True, apart from a number of key repeats, we are more in the territory – in CD terms – of “More Abba Gold” than “Abba Gold”, but Bjorn and Benny’s B-sides are still better than many other’s A-sides. What’s really nice is that the songs are well chosen to mesh better into the story and the lead singing of Seyfried and James is uniformly excellent. Pierce Brosnan gets to sing (no, no, come back!) but it is cleverly low-key and genuinely touching. And as for Celia Imrie, you’re a legend and we forgive you!
It’s also far better at finding both humour and pathos than the original, with the splendid Hugh Skinner exhibiting perfect comic timing and comedian Omid Djalili being very funny (stay to the end of the end-credits for a very funny monkey). National treasure Julie Walters also adds excellent comic content, particularly in a number of dance scenes.
And as for the pathos, if the duet at the finale doesn’t move you to tears you are either made of rock or are immune to being shamelessly manipulated! It’s a well-scripted convergence of grief and joy (I feel Richard Curtis‘s hand in the story here) around one of Abba’s most beautifully tear-jerking songs. I will admit to you – don’t tell anyone else – that I was left in a complete mess… another reason to sit through the end titles!
At the elderly end of the cast list Andy Garcia is magnificent as the South American hotel manager Mr Cienfuegos (you’ll NEVER guess what his first name is!) and Cher (“Moonstruck”) literally rocks up trying hard to steal the show as Sophie’s Vegas superstar grandmother.
Directed and scripted by “Best Exotic Marigold Hotel” director Ol Parker (the lucky guy who is married to Thandie Newton!) it drips with cheese again, but who cares when it is so stylishly done. Should you see this? The test is simple: if you hated “Mamma Mia” then you will hate this one; if you loved “Mamma Mia” you will simply adore this one.
Which brings us spoiler-free to the start of “Mamma Mia! Here We Go Again”, typically shortened by everyone to “Mamma Mia 2”, the sequel to the enormously successful cheese-fest (and Bros-fest) that was the first film, now – unbelievably – 10 years old.
Sophie (Amanda Seyfried) is trying to open the Bella Donna hotel on that magical Greek island separated from her husband Sky (Dominic Cooper) who is learning the tips of the hotel trade in New York. As preparations for the opening party progress we flash back to the back-story of Donna (as a post-graduate played by Lily James) as she meets Harry (Hugh Skinner, “The Windsors”, “W1A”), Bill (Josh Dylan, “Allied”) and Sam (Jeremy Irvine, “War Horse”) en route to Greece.
If you remember the first film and thought Donna (Meryl Streep) was a bit of a… erm… ‘loose woman’, then this plot point could have been amplified by seeing the “dot, dot, dot” acts in the flesh, as it were. Fortunately, in steps Lily James as the young Donna who is so mesmerisingly gorgeous and vivacious that you can forgive her just about anything. “Beguiling” was the description my better half came up with, and I couldn’t describe her better. Supporting her effectively are Alexa Davies (as the young version of Julie Walters‘ character) and Jessica Keenan Wynn (as the young version of Christine Baranski‘s character). The trio’s exuberant performance of “When I Kissed the Teacher” sets the tone well for the grin-fest to follow. (By the way, if you are a Mary Poppins fan then a bit of trivia is that Wynn is the great-granddaughter of Ed Wynn, the character who “Loved to Laugh” on the ceiling!).
In these days of drought, Trump vs the world, Brexit and universal bruhaha, this is a much-needed joyful film, and far better I would say than the original. A good story, well executed and stuffed with excellent tunes. True, apart from a number of key repeats, we are more in the territory – in CD terms – of “More Abba Gold” than “Abba Gold”, but Bjorn and Benny’s B-sides are still better than many other’s A-sides. What’s really nice is that the songs are well chosen to mesh better into the story and the lead singing of Seyfried and James is uniformly excellent. Pierce Brosnan gets to sing (no, no, come back!) but it is cleverly low-key and genuinely touching. And as for Celia Imrie, you’re a legend and we forgive you!
It’s also far better at finding both humour and pathos than the original, with the splendid Hugh Skinner exhibiting perfect comic timing and comedian Omid Djalili being very funny (stay to the end of the end-credits for a very funny monkey). National treasure Julie Walters also adds excellent comic content, particularly in a number of dance scenes.
And as for the pathos, if the duet at the finale doesn’t move you to tears you are either made of rock or are immune to being shamelessly manipulated! It’s a well-scripted convergence of grief and joy (I feel Richard Curtis‘s hand in the story here) around one of Abba’s most beautifully tear-jerking songs. I will admit to you – don’t tell anyone else – that I was left in a complete mess… another reason to sit through the end titles!
At the elderly end of the cast list Andy Garcia is magnificent as the South American hotel manager Mr Cienfuegos (you’ll NEVER guess what his first name is!) and Cher (“Moonstruck”) literally rocks up trying hard to steal the show as Sophie’s Vegas superstar grandmother.
Directed and scripted by “Best Exotic Marigold Hotel” director Ol Parker (the lucky guy who is married to Thandie Newton!) it drips with cheese again, but who cares when it is so stylishly done. Should you see this? The test is simple: if you hated “Mamma Mia” then you will hate this one; if you loved “Mamma Mia” you will simply adore this one.
Andy K (10821 KP) Feb 23, 2018