WHEN TANYA (CHRISTINE Baranski) first sees the new hotel manager (Andy Garcia), her immediate response is, “Be still my beating vagina”. This has got to be one of the better penned lines in a movie this year…that’s also one of the year’s most smile-inducing and spirit-uplifting (in a good way) ones.

It’s a clever enough story (OK, it’s gob-smackingly silly. But what-the-hell, it’s ABBA) that parallels the lives and hopes of the original dancing queen, Donna (Meryl Streep) and her pregnant daughter, Sophie (Amanda Seyfried). You no doubt remember that when we first met Donna (in Mama Mia 1), she was anxiously awaiting the arrival of her three ex-lovers, any of whom could be the father of Sophie. In Here We Go Again, we’re introduced to Donna as a young woman (Lily James) who has impulsively escaped the US for the sunnier shores of an idyllic Greek island that she falls in love with (along with that trio of lovers). The story cuts from this past to the present when we meet Donna’s daughter, Sophie (Amanda Seyfried) deep in the throes of a celebratory re-launch of her (now recently deceased) mom’s dream hotel.

Got that?

The idea that holds the enterprise together centres around the debate about free spiritedness and existential abandon v control, conformity and caution. Guess which side wins?

Baby Driver’s Lily James (the young Donna) and First Reform’s Amanda Seyfried (the daughter) are wonderful. They’re both golden haired, lively company with surprisingly good voices. And incredibly, they both manage to inject some verisimilitude and transcend the blonde ditziness of their roles, not to mention the befuddled hamminess of their more celebrated co-stars, the co-fathers (Pierce Brosnan, Colin Firth and Stellan Skarsgard) with verve and zest.

The past/present back and forth is buoyed up by the presence of BFF’s Rosie (Alexa Davis) and Tanya (Jessica Keenan Wynn). The here and now version of these are English comedian Julie Waters and The Good Wife’s Christine Baranski (she of the “beating vagina” whose comic turn almost steals the movie as the unbridled spirit of middle aged horniness).

Meryl makes a cameo performance as the singing ghost of her former self (don’t ask) and Cher as Sophie’s grandmother, herself a face-lifted Botox-blighted ghost of a real person who comes face to face with her own former lover, Fernando Cienfuegos (Andy Garcia) who, of all gin joints of all the towns in the world, is the new hotel’s suave manager. It’s a 90 minute set up for Cher’s love song to him. Yep, he’s Abba’s famous Fernando (the words of which song make no sense at all. But who’s complaining)

The scenery is stunning, the acting is spirited, the dancing is (nicely) Bollywood-esque. But mainly the music’s the thing…that, like it or not, turns us all into dancing queens.

Sort of anyway


MAMA MIA!: HERE WE GO AGAIN. Dir: Ol Parker (Imagine Me and You). With: Lily James, Amanda Seyfried, Meryl Streep, Cher, Andy Garcia, Dominic Cooper, Julie Walters, Christine Baranski, Pierce Brosnan, Colin Firth, Stellan Skarsgard. Writers: Ol Parker with a story by the brilliant Richard Curtis (War Horse, Bridget Jones: The Edge of Reason, Love Actually). Cinematographer: Robert Yeoman (The Grand Budapest Hotel. Bridesmaids). Composers: Benny Andersson and Bjorn Ulvaeus



KINGSMAN** Kick Ass for teen boys


“KINGSMAN: THE SECRET SERVICE” IS EXPENSIVE, slickly produced and studded with a scatter of fine acting talent. It’s entertaining fluff; a momentary diversion of glittering nonsense in this pre-Oscar season of heavy, humourless drama.
The producers (Matthew Vaughn, Adam Bohling and David Reid of “Lock, Stock and Two Smoking Barrels”, “Layer Cake” “Kick Ass” and “X-Men: First Class”) have either cannily or cynically combined a mashup of spy movie archetypes to which the script of “Kingsman…” often and archly refers. You can just imagine the sales pitch:
“Guys, imagine a Spy Movie Greatest Hits (and by the way, you don’t need to imagine. This thick report I got here outlines all the scenes and hero characteristics our demo love best. You don’t need to read the whole report. There’s an executive summary at the front. We got Peter Brand (he’s the stats chap from “Moneyball”) to build us an algorithm, charting audience reactions. We call ’em “likes and spikes”. Like I was saying, Peter has projected exactly what’s going to get 19 year old boys roaring:
“First of all, lots of really cool action scenes like Denzel in “The Equalizer”. Matthew [Vaugn] our director and one of the producers just did “X Men: First Class”. So he knows how to shoot action. And, gentlemen, let me remind you that that grossed $335M worldwide.
“It needs a clear, easy to follow plot, with something techy involved, like “Live Free and Die Hard”. Let’s face it, people aren’t going to the movies to feel dumb. It’s the KISS formula: keep it simple and stupid.
“It needs a young hip, edgy rebel type hero who gets to escape his shitty neighbourhood and dress in very cool clothes. Every member of the audience is going to relate to this. Also, what our research has shown is that guys are feeling bypassed by all these chick heroines… Katniss Evergreen, Tris from “Dvergent” and that lot. So in a sense, this movie’ll be fulfilling a social, a moral function. There’s a young Welch guy who can do London cockney really well, especially now that there are no young real cockney actors ‘cause they can’t afford acting school. He’s Taron Egerton – just did “Testament of Youth”
“I digress.
“We need a cool, badass Black dude. The ethnic audience is a mother lode of moulah. And Sammy Jackson has already signed. He says he’s gonna do the whole thing with a lisp; a sort of effete, maybe gay bad guy. A Black version of Javier Badem from “Skyfall”
“The plot needs a Tommy Lee Jones tutor figure, you know from “Men in Black”? That kind of tutor figure goes down real well. Think Yoda or Gandalf or Haymitch from “Hunger Games”. And we’ve got… wait for it: A-lister Colin, the babe magnet, Firth. The accent just slays ’em every time. He says he’s going to channel John Steed from “The Avengers”, with the same shoes Rosa Klebb had in “From Russia with Love”. You remember them? The ones with knives in the tips. And he needs the work: been in a lot of stuff recently that nobody’s seen. Remember “Before I go to Sleep”? No? Well no one else does.
“And the babes are just going to sizzle. We’ve found this outrageous hottie from Algeria. Name’s Sofia Boutella. Starred in the underrated “Monsters: Dark Continent”. Here’s her Head shot. More important, here’s her Body shot. Imagine her in tight spandex; and imagine, instead of legs, she has killer blades. Below the knees she’s all Moulinex.


“We’ve also got a proper, upper class, posh type. Emma Watson was coming in too steep, so we signed Sophie Cookson. Did a bit of TV stuff, but waiting to strike it big.

“And also waiting to strike it big is that great Brit actor Mark Strong. He was in “Imitation Game”, “Zero dark Thirty”, “Tinker, Tailor, Soldier, Spy”. Great actor who no-one remembers. So we got him cheap too

“And of course Michael Caine. He’s not particularly good, but I refuse to allow Chris Nolan to monopolize him.

“And then, following the research, the movie needs lots of very cool gear. This is what research shows people most miss in the new Bond movies. Where’s all the cool gear Bond got from Q? Well, we have it here: exploding lighters, laser watches, X-ray vision glasses, bullet proof machine gun umbrellas.

“We throw all that together with explosions, car chases, airplanes that hide underground like X-Men, and I tell you, gentlemen, we’ve got us a winner.

“Well what do you think?”

“I really like it. I particularly like the fact that it feels like a sequel even though it’s the first one”

“Sign here on the dotted line”

Kingsman: The Secret Service. Dir: Matthew Vaughn. Writers: Jane Goldman (“X-Men: Days of Future Past”, “X-Men: First Class”. “The Debt”. “Kick Ass”) and others. Cinematographer: George Richmond (“Sunshine on Leith”); Composer: Henry Jackman (“The Interview”, “Big Hero 6”, “Captain America: The Winter Soldier”, “Captain Phillips”)