Here we go again, indeed. And why the hell not? Sure, it is treacly pointlessness with a beat, but it is certainly a welcome break from reality. This installment does suffer a bit from sequel-itis in that it is a bit less focused and not quite “new,” but the cast and production throw themselves into the story to bring it all nicely full-circle.
The original cast return, picking up where they left off, but the real focus is very much in the past. Lily James (The Darkest Hour) as the young Meryl Streep (The Post) is magnetic and wonderful. And Jessica Keenan Wynn, in particular, nails Christine Baranski (Into the Woods) beautifully.
What is most interesting, at least for me, was watching how director/writer Ol Parker (Now is Good) structured the movie to get the effect he wanted. The initial songs and performances are purposefully lack-luster to leave room for the bigger and better-known numbers and stars later on. The first 15-20 minutes of the movie is all about breaking down the happy ending of the previous film so the characters have something to fight for. The inter-cuts from past to present are expertly and interestingly woven together. And the drive to the finale is inevitable. The rhythm builds like Grand Budapest Hotel, compressing as we get closer to the ending.
But therein lies the rub. For me, the film never quite peaked. We’re promised a huge finale, and there is a nice emotional one on some levels, but we never quite have the musical finale we deserve. Think The Greatest Showman, Moulin Rouge, or Across the Universe or just about any Broadway show. And I say this especially because Cher (Burlesque) was in the mix. The fault really lies with the music arrangements. In every case they seem to hang back or back off the blow-out ending. Whether that was to accommodate the actor’s abilities or to keep Cher from stealing away the film, I don’t know, but it was very palpable for me. The trailers had more showmanship for me than the movie itself.
All that said, the two hour diversion was welcome and entertaining. If you liked the first, you’ll like returning for the second. There is a sweet story, both romantic and personal, being told and ABBA’s music remains unavoidably foot-tapping. Just stay through to the end of the credits for a final, short scene.