It’s full of big feelings, declarations of self-identity, an unabashed love of the transformative power of theater, and its power of positivity can be a balm to many during this holiday season. The Prom is based on a short-lived Broadway musical about a girl in Indiana who wants to bring her girlfriend to the school prom and the ensuing media controversy that erupts. A team of out-of-work theater actors (Meryl Streep, Anthony Rannels, Nicole Kidman, James Corden) see publicity value in rallying to her cause, so they decamp to Indiana and challenge the homophobic PTA leader (Kerry Washington) who refuses to hold an inclusive prom. Director Ryan Murphy’s style and sensibilities work well within the realm of musical theater; a decade of television curation for FX and now Netflix has made him an expert on camp and flash. The man loves applying slick gloss to trash. His camera is constantly, uncontrollably moving during the numerous musical numbers, attempting to compensate for the generic quality of the majority of them. There are two standouts. The first is when Corden’s character takes our lesbian teen to the mall for a makeover. It’s got a catchy hook and one that becomes a reoccurring theme for the show. The second is when Rannels’ character is pointing out the hypocrisy of local Christians decrying homosexuality but falling short of other Biblical teachings. The story is sweet but un-challenging. The plot exhausts so quickly that I was amazed at one point to discover there was still an hour left in the over two-hour production. Each member of the squad gets a signature number to varying degree of success. The happy ending is affirming and heartfelt but also quite easy and kind of unearned. The amount of catharsis and reconciliation doesn’t gel with the emotional investment and development of these characters. They’re nice but relatively dull, and the industry satire only goes so far to chide the out-of-touch Broadway elites for their own prejudices of Midwest life. The Prom is disposable fluff that will pacify an afternoon.
Nate’s Grade: C+
By my count, this is approximately the 182nd version of Louisa May Alcott’s Civil War sisterhood. There must be something universal about the trials of the March sisters and their struggles for independence, agency, love, and happy endings on their own turns. Greta Gerwig, fresh off her Oscar nominations for Lady Bird, has given Little Women a decidedly modern spin. The story flashes back and forth between past and present, sometimes in consecutive shots, and feels full of authentic youthful energy. It’s also the first adaptation I’ve watched that has fixed the problem of Amy (Florence Pugh, affecting), widely regarded as the least liked sister. Through Gerwig’s telling, she becomes a self-determined woman, just like Jo (Saoirse Ronan), who recognizes the social trappings holding her back but chooses to do her best within this unfair system rather than rage against it. It’s like an empathetic reclamation for this often reviled character. The enjoyment of Little Women is how vibrant and different each of the March sisters is and how an audience can see degrees of one’s self in each little woman. Jo is by all accounts our lead and her struggle to be a successful writer pushes her against conventions of the era. There is an invented and very amusing bookend where Jo bickers with a blowhard male publisher (Tracy Letts) about “women’s melodrama.” It’s a meta commentary on Alcott’s book herself, especially with the helping of marriages and happy endings by story’s end. Ronan is a force of nature in the film and sweeps up everyone around her with charm. Meryl Streep is supremely amusing as an older rich aunt bemoaning the girls won’t get anywhere without marrying a wealthy man. The limited options for a working-class family are given great consideration, but it’s really a movie that seems to pulsate with the exciting feelings of being young, having the world stretch out before you, and chasing your dream, rain or shine. It’s also gorgeously shot and feels so assured from Gerwig as a solo director. There are a few detractions for this new 2019 Little Women, the biggest being how confusing it can get with its melded chronologies. If this is your first exposure to Alcott’s story, I fear you’ll get lost more than a few times trying to keep everything in order. The love story with lovesick pretty boy Laurie (Timothee Chalamet) feels tacked on even though it’s a feature of the novel. This newly structured, reinvigorated, charming remake of a literary classic feels definitely of the period and of today. It’s the first Little Women adaptation that made me realize how timeless this story really can feel in the right hands. It may be the 182nd version but it might be the best one yet.
Nate’s Grade: B+
I have no real investment in Mary Poppins as a character or the original 1964 movie, so I was expecting to walk out of Mary Poppins Returns with a shrug, likely finding it middling at worse. I was unprepared for what I endured, and endured is the accurate statement. Mary Poppins Returns is an insane movie and one of the most maddening and painful experiences in a theater I’ve had all year, and no number of spoonfuls of sugar will help this bad medicine go far enough down.
It’s the “Great Slump,” a.k.a. Depression, in London and the Banks children have grown up. Michael (Ben Whishaw) has three young children of his own and he’s struggling to maintain his job at the bank and be the father they need in the wake of his wife’s death. His sister, Jane (Emily Mortimer), has moved into help but it’s still not enough. Enter that famous nanny, Mary Poppins (Emily Blunt), who takes it upon herself to watch over the children, help them through the grieving process, and explore the outer reaches of London with some help from some friends, chiefly Jack (Lin Manuel-Miranda). The Banks family is in danger of losing their home to the head of the bank (Colin Firth) unless they can find a specific title of shares that will grant them a wealth denied their adult lives.
This movie felt like it was eight hours long and I had no sense of how much time was passing, mostly because of its misshaped structure and general lack of pacing. Mary Poppins Returns feels like it could have been renamed The Tony Awards: The Movie. It’s one unrelated song-and-dance number after another, rarely building from the previous one, and so it feels like an eternal televised awards show that just shuffles from one set piece to the next, never providing a sense of direction or finality. Things just happen in this movie and then different things happen but rarely do they feel consequential. This makes the film feel endless because you have no real concept of progression. It’s just another unrelated song into an unrelated magical realm that doesn’t really seem like it matters, and then we’re off to the next. I think some part of me is still trapped watching Mary Poppins Returns, never allowed to leave.
This would be mitigated if the songs were any good. There are over a dozen and not a single one is memorable. It was mere minutes after leaving the theater that I pressed myself into trying to hum any one of them, and I could not. They instantly vanish from your memory because there are no melodies or interesting production aspects that cause them to stand out. They assault you with their blandness and staid orchestration. They’re a careful recreation of an older sounding, 1950s musical, an antiquated sound that doesn’t have the same traction today. The only way you can remember one of these songs is if you have a traumatic experience forever linked to one of these mediocre, warbling collection of sounds.
There are two astoundingly peculiar songs. “Trip a Little Light Fantastic” is a big ensemble number involving the lamp lighters lead by Miranda. However, the song reference is clearly evocative of the Timothy Leary “trip the light fantastic” comment about LSD. It’s strange to think this is only a coincidence when the lamp lighters are dubbed “learies.” It’s not a good song to begin with and the performance literally involves men on BMX bicycles flying around and doing tricks. How is any of this happening in a reported Disney family film? The Meryl Streep “Turning Turtle” song may be the most excruciating five minutes I’ve sat through for all 2018. It’s just embarrassing to watch and made me honestly think of the children’s movie disaster, The Ooogieloves, where you watch once proud actors debase themselves and their legacies in depressing fashion. That’s the level of dread and mourning I had watching Streep slog through a Bela Lugosi accent and dance upside down. It has to be seen to be believed but you shouldn’t ever have to see this. I have a new appreciation for the La La Land songs.
The continual removal of stakes robs the movie of feeling like anything onscreen genuinely matters. Mary Poppins is a magical creature without clearly defined rules or limits. At any point she might simply have the solution to a problem that she wasn’t sharing. Take for instance the ending (spoilers for the duration of this paragraph, but really, who cares?) where the lamp lighters and the Banks family race to ole Big Ben to literally “turn back time” by adjusting the clock hands. The lamp lighters use their ladders to free climb the face of the clock to the very top, only to be undone by not being able to reach the minute hand at it nears twelve. Then all of a sudden Mary Poppins scoffs to herself and flies up to the clock face to adjust it. If she could do this the whole time why did these very mortal men risk their lives in this exercise? I think Mary Poppins may be a cruel god (more on this later). The concluding dash to ensure the Banks family can keep their home involves not one, not two, but three deus ex machinas, a “Turducken of ex machinas” as my pal Ben Bailey termed it. Ultimately all of their actions do not even matter because the film routinely provides an unknown escape route that invalidates their efforts. It turns out, in the end, they weren’t even going to lose their home thanks to (at my best guess) a magical bird head that is best friends with the head of a bank and who never mentioned this before, the same head of the bank who has just been off in what appears to be an adjacent room for whatever reason and that also knows that Michael Banks has accrued a hefty fortune from a childhood investment, and has never mentioned it as well except in this crucial moment. Why, why does Mary Poppins Returns do this? Why does it present stakes or the illusion of stakes only to sabotage them every time?
Is Mary Poppins really a creature of good or does her need to be loved prove her a fickle god who demands adulation, subservience, and obedience? When Mary Poppins travels from world to world, some live action, some animated, all fanciful, every inhabitant seems to know this woman and love her unconditionally despite her prevalent smarm. The bigger question is do these magical worlds exist independent of Mary Poppins? Is there a pocket universe in existence on the side of a chipped porcelain bowl, or did it only come into existence when Mary Poppins decided it would be a lovely vacation spot? If so, that means she is calling into being a throng of adoring creatures that exist to validate her impulsive whims. She is a selfish god that demands an audience of servants and sycophants, not unlike the Javier Bardem character in Darren Aronofsky’s polarizing polemic, mother!.
The actors acquit themselves fine for their roles. Blunt (A Quiet Place) and Miranda (Moana) will still be charming performers even when given substandard material. Blunt holds your attention with her prissy, schoolmarm persona, balancing the audience’s memories of Julie Andrews without going into parody. Her singing (as also evidenced from 2014’s Into the Woods) is above average and can help make some of the songs more tolerable to listen to. Miranda is a talent bursting with charisma and range, which makes it all the more frustrating to squeeze him into the narrow confines of a cockney scamp. He does get a rapping reprise in “A Cover is Not the Book” with a group of cartoon penguins. The stranger element is that it really feels like Miranda’s character wants to have sex with Mary Poppins. They slot him as a forced romantic option for Mortimer’s underwritten sister, but his eyes are clearly set for the woman who bosses people around and has magic in her fingers. He remembers her when he was a boy chimney sweep and I think he’s been fantasizing about her every day since. Plus, she hasn’t aged in 30 years.
Mary Poppins Returns is a bizarre artifact of a displaced time, taking great pains to recreate a style but without providing a purpose or sense of feeling beyond emulation. I don’t know who this movie is for besides the hardcore fans of the original. There are dancing dolphins, talking dogs, bathtub portals, an upside down house, flying balloons, union protests, Angelina Lansbury or an animatronic lookalike, and there’s lots of songs you will be unable to recall and a story that repeatedly removes any stakes or grounding from beneath itself so that the movie never feels firm or purposeful. There were several points where I just wanted to throw up my hands and ask, “What am I watching?” I still don’t know. Mary Poppins Returns is a movie musical that is nothing short of super-cali-fragil-awful.
Nate’s Grade: D+
Even with the added timely benefit of championing a free press in the era of Trump, Steven Spielberg’s The Post is a movie held together by big speeches and Meryl Streep. It’s the story of the Pentagon Papers but it’s told from the wrong perspective. It’s told through the reference of whether the owner of the Washington Post (Streep) will or will not publish and how this endangers her family’s financial control over the newspaper. Plenty of dismissive men doubt her because she’s a woman. It’s simply one of the least interesting versions of an important story. Streep is her standard excellent self and has a few standout moments where you can actively see her character thinking. I just don’t understand why all these talented people put so much effort into telling this version of this story. I missed the active investigation of Spotlight, how one piece lead to another and the bigger picture emerged. There was an urgency there that is strangely lacking with The Post. The question of whether she will publish is already answered. It feels like the screenplay is designed for Big Important Speeches from Important People. Tom Hanks plays the gruff editor of the newspaper and Streep’s chief scene partner. They’re enjoyable to watch, as is the large collection of great supporting actors (Bradley Whitford, Carrie Coon, Sarah Paulson, Tracy Letts, Matthew Rhys, Jesse Plemons, Bruce Greenwood, and a Mr. Show reunion with David Cross and Bob Odenkirk). This is a movie that is easier to admire than like, but I don’t even know if I admire it that much. The film has to call attention to Streep’s big decision and the stakes involved by underlining just what she has to lose and reminding you how brave she’s being. When Streep leaves the U.S. Supreme Court, there’s a bevy of supportive women lined up to bask in her accomplishment. It’s a bit much and another reminder that The Post doesn’t think you’ll understand its major themes. It’s a perfectly acceptable Oscar-bait drama but it sells its subject short and its audience.
Nate’s Grade: B
Theater fans, take this review with a Broadway-sized grain of salt because I’m going to admit I’ve never seen Into the Woods prior to its film release. I consider myself a Stephen Sondheim fan, especially with Sweeney Todd. Now with all that established, I found Into the Woods to be a thoroughly uninvolving and middling musical without any memorable tunes and a series of annoying characters that just kept running in comic redundancies. Perhaps it’s my own ignorance to the original 1987 theater production, considering subversive and edgy and not the most natural fit for the Disney brand. Perhaps I’m just not hip enough to Sondheim’s academic use of melody. Or perhaps others out there will share my opinion that Into the Woods is a tuneless bore.
In a fantasy kingdom, a Baker (James Corden) and his wife (Emily Blunt) are trying to conceive a child but having difficulty. A witch (Meryl Streep) reveals that the only way to undo the infertility curse is to gather a series of magical items. The baker ventures into the aforementioned woods, desperate to find these items, often running into the likes of other fairy tale icons like Red Riding Hood (Lilla Crawford), Cinderella (Anna Kendrick), Prince Charming (Chris Pine), the Big Bad Wolf (Johnny Depp), Jack (Daniel Huttlestone) and his beanstalk, and the entrapped Rapunzel (Mackenzie Mauzy).
It must have been more relevant back in 1987, but today we are awash in the darker side of fairy tales. Analyzing the implications of “happily ever after” in a more adult and pessimistic way is nothing new. We’re saturated with TV shows and movies that have explored these issues before, revealing the darker truths to some of our favorite fairy tale characters, so it’s hard for a Woods novice to approach the show without a sense of ”been there, done that.” It’s unfair for Sondheim but that’s the reality that greets an adaptation of a musical that’s almost thirty years old. Because of this context, the insights and subversions with the fairy tale characters never feel somewhat pat. The fact that Little Red Riding Hood might be featuring a sexual awakening related to the dangerous Big Bad Wolf is the only striking one that adds dimension to her character. Other “twists” given to the characters are either predictable or just underwhelming. Oh, Prince Charming isn’t so nice and marrying into royalty isn’t the fantasy it’s made out to be? Then there are character betrayals that come out of nowhere, without any proper setup, that feel like the musical is just flailing around in transparent shock value. Just because someone suddenly does something out of character does not mean it was a good plot choice. The guilty party even sings, “I’m in the wrong story,” admitting the identity crises. I wouldn’t have a problem with these wrinkles if they felt better setup or there was more commentary attached. Instead, as delivered in the film, it feels rushed and unearned.
Music is inherently subjective (then again so is film, I mean…), so I’m sure others will vociferously disagree with my stance that Into the Woods is mediocre. True to Sondheim’s works, he establishes character-based melodies that fold and cascade atop one another, weaving in and out. The problem is when none of those melodies captures your attention. These are not humable tunes. To my ears, the songs just collided into one another forming one long string of tonal mélange. The singing is more than adequate by the performers (though Pine’s crooning is a bit subpar) but the songs just flatline. I just took a break from writing and listened through Amazon.com’s soundtrack for the show, sampling every song one again, and they all just blend together. There isn’t one song that burrows its way inside your brain, taking residence beyond the immediate. Then again, if you’re one of the fans of the show who loves these songs then having a fresh coat of Hollywood production will make them sound even better for you, especially with Corden and Blunt and Streep as the top performers.
Another hindrance for me was that I found many of these characters to be insufferably annoying. I found Red Riding Hood and Jack to be irksome and thieves, and so I didn’t feel much sympathy when Jack’s breaking and entering and giant manslaughter lead to dire consequences in the last act. Does not the lady giant deserve her vengeance? Her home was broken into, pilfered for its valuables, a small portion of which would have been sufficient but Jack cannot help his felonious ways, and then the boy killed her husband in a hasty escape attempt. If anything, I would have preferred the lady giant picking her teeth with the plucky lad. I also wanted Little Red to remain in the belly of the wolf (spoiler alert?). Cinderella lost my interest with her wishy-washy behavior. I believe it’s meant to be funny that she keeps returning and running off for three days in a row of princely balls. Another way of looking at that behavior is frustration. The only characters I actively cared about were the Baker and his wife, and the calamitous plotting of the musical’s second half tested even those allegiances.
The story gets to be rather redundant as well once the main characters are established and their plight is set in motion. I suppose I can now understand why Into the Woods is one of the most popular stage productions to perform at high schools and colleges: the scarcity of scene changes. Much like other aspects of the film, the setting just blends together and becomes tiresome. My pal Eric Muller remarked, “It’s called Into the Woods and not Into Multiple Sets.” I got sick of the woods. The plotting requires the various characters to keep running into one another again and again. It’s amusing at first but once it keeps going, and going, and going, the repetition loses its charm. You start to feel like the show is as lost as the characters and just going in circles to bide its time.
Acting-wise, I cannot fault the big-screen version. Blunt (Edge of Tomorrow) has a great singing voice and has shown great range as an actress in 2014. Streep improves upon her shaky start to musical theater from Mamma Mia. She’s still the great Meryl and seems to be one of the few people having fun. She enlivens every scene she’s in. Pine (Star Trek Into Darkness) is enjoyably self-involved as his caddish prince. Depp (Transcendence) is suitably lascivious though he only has about five minutes on screen. Corden (soon to be the new host of CBS’ Late Late Show in 2015) is the real standout. The man has a self-effacing likeability to him that serves as an anchor for the show. He’s funny and tender but he’s the heart of the story, and the film is at its best with Corden as its center.
If you’re a fan of the original Into the Woods, chances are you’ll likely find enough in this adaptation to enjoy. Director Rob Marshall (Chicago) and his crew re definitely fans and you can feel their appreciation for the source material. However, if this is your first exposure to the Broadway show, then you may too find the characters annoying, the commentary underdeveloped and dated, the songs tuneless and unmemorable, and the plotting to be redundant and tedious. The actors do what they can but it was ultimately a losing cause to my ears. I found the film more exhausting than transporting. I’m at a loss how people can work up such passions for a show that feels so thoroughly blah. I await the Sondheim crowd to tar and feather me as an ignorant heathen, but there you have it. Into the Woods is an underwhelming musical that made me want to turn on the radio.
Nate’s Grade: C
This holiday season, the movie with the most acting, by far, is likely to be August: Osage County, the adaptation of Tracy Letts’ Tony award-winning play. It’s a large dysfunctional family getting back together and opening old wounds, so, you know, the most relatable Christmas movie for some. It’s easy to see what attracted such A-list talent to this project because these characters are actor catnip; each is overflowing with drama, secrets, revelations, anger, and it’s all channeled through Letts’ barbed sense of humor and wickedly skillful dialogue. With Meryl Streep as the pill-popping matriarch, Julia Roberts as her resentful daughter, and a host of other inter-generational conflicts and secrets, you may feel exhausted by the end of its 130-minute running time (the stage play was 3.5 hours, respectively). The emotional confrontations feel like grueling pugilist matches, the melodrama kept at a fever pitch, but the film is never boring. Streep is her usual astonishing self and the deep ensemble gives each actor something to chew over. This is the best Roberts has been in years, and she’s not afraid to get nasty (“Eat your fish!”). Just when you think the story might soften, Letts unleashes another body blow, allowing no uncertainty that this is a family doomed. The story also provides insights into tracking the path of cruelty through the family tree, limb by limb. August: Osage County is stridently funny but also punishing in its no-holds-barred approach to family drama. If you’re looking for a movie that makes your family seem normal and even-tempered, this may be it.
Nate’s Grade: B
I may be 30 years removed from the target demographic, but I found the sexagenarian romance Hope Springs to be charming, insightful, and quite well developed. The idea of Meryl Streep getting her groove back and an older couple essentially learning how to be intimate again, physically and emotionally, sounds like a hard sell (no pun intended). The central couple has settled into the complacency of a long marriage, and little divisions have turned into routines. How can you bridge the divide? I was routinely surprised at how mature and thoughtful the movie was when it came to examining relationships. In between all these personal revelations of unhappiness is a curiously playful sex comedy, and you’ll see Streep engaging in certain acts you never thought becoming of the three-time Oscar-winner (no pun intended). Streep and her reserved husband, played by Tommy Lee Jones, are terrific, and their counseling scenes are the stuff of great drama, as two people who don’t really know how to communicate reveal their true feelings and problems. I’m making the movie sound like a chore but it’s really engaging and the stuffiness of Jones makes for some enjoyable comedy. This is a small movie, dealing with a weighty but recognizable subject that’s not often handled with this care and attention. Hope Springs is practically a Hollywood version of a Bergman film, and with these results, that’s not a bad thing. I foresee Hope Springs leading to a lot of patrons going home and having sex with their spouses. It’s like an AARP aphrodisiac. Good thing for menopause, or else Hope Springs would be responsible for a baby boom all its own.
Nate’s Grade: B+
Meryl Streep is as she always is, which means to say she’s terrific as famous jubilant chef Julia Child. She’s got the sing-songy voice down cold, and Julia comes across like a spigot of joy, yelping with delight like a child. It’s hard to not find it adorable, and her husband (Stanley Tucci) is a kind, caring man who complements her well. The scenes between the Childs can be heartwarming and delightfully comic. However, for some weird reason, the Julia Child section is only half of this movie. Writer/director Nora Ephron decided to frame the movie with the biography of Julie Powell (Amy Adams) writing a blog in 2002. Huh? Powell wants to prepare all 500 recipes from Child’s best-selling book on French cuisine in one year. As you might expect, this whole section turns into a lot of narration over food preparation and Powell becoming increasingly narcissistic about her blog fame. The only real purpose this modern storyline serves is to add perspective to the Julia Child storyline, giving historical context to what we see Streep and Tucci struggle over. The real resonance is with Streep as the larger-than-life cooking personality and her upward climb to be taken seriously as a chef and as an author. I don’t care about Julie Powell. She keeps interrupting a better storyline. Apparently the real Julia Child didn’t care for Powell either, because late in the movie Powell discovers that the real Child (who died in 2004) thinks the whole blog thing is a gimmick. And isn’t it? Then again, isn’t having Streep as Julia Child a gimmick of casting? Julie and Julia would have been better served if it had completely carved off the Julie section.
Nate’s Grade: B
You know you’re in for some intellectual and moral ambiguity when the opening sermon covers the nature of doubt. Doubt follows a New York head nun (Meryl Streep) in 1964 that suspects one of the new parish priests (Philip Seymour Hoffman) of having an inappropriate relationship with a young male student. The acting by the four principal actors is phenomenal. This is a showcase of stellar acting. Streep is ferocious and unwavering, a one-woman wrecking ball, and yet she still manages to make an antagonistic character empathetic: she’s doing what she feels is right to protect her students. Are unethical deeds acceptable in a righteous pursuit? Does she truly believe her convictions, or is Streep striking back against an entrenched hierarchy that diminishes her value? There is a clear resentment between some of the nuns and the array of priests with all the power and all the say. Naturally, in a he-said she-said molestation case, the audience is more likely to side with the funny, caring, progressive priest than the scary nun who detests ballpoint pens and Frosty the Snowman. In the end, the accusations aren’t cleared up and the film lets the audience debate the results. Director/writer John Patrick Shanley adapts from his acclaimed stage play and does a mostly fine job bringing it alive on screen, though he has a penchant for relying on really simplistic visual metaphors. The supporting cast rises up to Streep’s level, notably Viola Davis as the mother of the boy accused of being mishandled. Note to future students of acting: study Davis’ 10 minutes of screen time to see how a truly talented thespian displays a range of conflicted emotions, none of them feeling inauthentic or cheap. Doubt isn’t just one of the best-acted films of the year but also one of the best, period, and I have little doubt to that.
Nate’s Grade: A
Mamma mia here we go again. This movie is going to be a middle-aged woman’s dream come true. It boasts a cast whose median age is in the mid 50s, one former yet still dashing James Bond, lots of good vibration getaway vibes, songs by a pop group whose heyday was over 30 years ago, and a heaping helping of girl power. In short, Mamma Mia will entertain the same mixture that made Sex and the City a monster hit, notably middle-aged women, teen girls, and gay males. I’ve seen the stage show and enjoyed it, as have millions of others around the world, but the movie fails to capitalize on reaching a broader audience. Mamma Mia is content to serve the faithful and delivers a less than satisfactory product. The world of cinema is not the best place for this material.
Raised all her life on a Greek island in a Mediterranean paradise, Sophie (Big Love‘s Amanda Seyfried) is getting married. Her disapproving mother, Donna (Meryl Streep), runs a hotel and has raised her daughter by herself. Then one day Sophie goes through her mother’s diary and discovers she has three possible fathers, Harry (Colin Firth), Bill (Stellan Skarsgård), or Sam (Pierce Brosnan). She invites all three to the island to vet her real father. In agitated response, Sophie invites her old gal pals Rosie (Julie Walters) and Tanya (Christine Baranski) to help her during this paternity crisis. Over time old loves will be rekindled, new love will bloom, and there will be a lot of singing.
Let Mamma Mia stand as a future testament as to why you do not generally let someone helm a film when they have no film experience whatsoever. The creative talent behind the hit Broadway musical refused to grant anyone in Hollywood the rights to their worldwide sensation. So the stage director, Phyllinda Lloyd, is now also the film’s director, and oh my goodness was not the right choice. Her film inexperience shows with every second. The movie just doesn’t look right from beginning to end. There’s a noticeable “off” sensation due to Lloyd poorly shooting her scenes, editing her scenes, and directing her actors. I kept wanting, through sheer force of will, to nudge the camera angles, to change the composition a tad to make them more visually appealing, because Lloyd shoots the movie in bland static angles with minimal coverage. Mamma Mia looks so amateurish and fussily so, like Lloyd is purposefully thumbing her nose at the art of cinema. Lloyd also doesn’t bother to place any choreography in her scenes, and her actors just sort of spin and sway to the music like they were dancing in front of a bedroom mirror. It’s remarkable that a movie with so much riding on it looks so shoddy.
Presented in the reality of a stage, Mamma Mia is a shallow but fairly fun time. The movie version transports the musical into an actual Greek locale, which, to knock Lloyd yet again, she makes no real use out of (she mostly shoots her actors against rock faces and under harsh, glaring sunlight). What works on stage, when presented under the pretenses of the real world, comes across as incredibly cheesy and goofy beyond all relief (get a load of the high-stepping snorkerlers). The song and dance numbers, the character interactions, the sitcom generic plot (ripped off from 1968’s Buona Sera, Mrs. Campbell), they all start to transform into camp and beg for mockery. All of a sudden the entire island turns into a Greek chorus and provides backup during the impromptu singing. It’s strange and comes so late that it never feels properly established. The characterization is pretty slim, and once the movie establishes its characters it pushes the petal to the floor. The plot whizzes by in a whirlwind of one Abba song after another, with minimal breaks in between just to change setting and barely elbow the characters forward. I don’t think the actors had any chance to breathe in between the song numbers because I know I could barely exhale before another song assaulted my senses with forced giddiness.
But here’s the odd thing. The film is so silly and played to constant high-energy capacity that after a while Mamma Mia begins to wear you down. You may begin to smile, you may begin to clap, but you’ll be guaranteed to start humming the incredibly infectious tunes. Mamma Mia is essentially an Abba jukebox with a third-rate story strung along for the ride. As a story, it leaves much to be desired, but as a musical experience it makes you realize how glorious those Abba songs are. They’re like perfect pop bundles that somehow make you feel better even if the lyrics are more bittersweet than you realize at the time. The 18 Abba songs showcased, along with a few others during a weird curtain call sing-a-long, will certainly lift your spirits just as long as you concentrate more on the music than on the often-forced context.
The actors are better than the material, clearly. Streep is her generation’s finest actress but she tries too hard to convince you of the great girl-power fun she’s having. The singing, on the other hand, is all over the map. Streep and Seyfried have the strongest voices of the bunch, which is good considering they also have the most musical numbers to sing and twirl to. Neither has a particularly sensational voice but then again they certainly distance themselves from their pitiful peers. Most of the other actors just have droning vocals but Brosnan, oh boy, I have to congratulate the man for having the courage he does. You feel embarrassed for the guy; I mean this is James Bond here. I found myself turning away whenever he opened his mouth, not wanting to look the man in the eye. Every time he started singing my theater crowd of Mamma Mia faithful began snickering and giggling. I almost feel so bad that I should send the guy a card saying, “Sorry about the singing, but hey, you’ll always have the paycheck.”
The real audience for a Mamma Mia movie is the fans of the Mamma Mia theatrical show, and the movie is tailored to their interests. The big screen version isn’t interested in converting new fans, hence the amateurish direction and disregard for reaching out for broader appeal. Mamma Mia the movie is pretty much a less zippy and ten times goofier version of the stage show except with bad singing. If that sounds like a fun evening out, then by all means enjoy. This is a mess of a movie and not a terribly good movie at that, and yet the power of those Abba songs will inject enough goodwill that you will forgive some of the movie’s transgressions. Some. Pierce Brosnan’s singing is something that cannot be forgiven nor forgotten.
Nate’s Grade: C+