Moviola
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Moviola brings the best in cinema to your community, wherever you live in the UK – in the last year nearly 2,000 film shows for 125,000 people.
Kilmington shows the films on a wide screen in the village hall with seating for 100. The first showing in Kilmington was in March 2005 with the film “Vanity Fair”. Since it started until December 2015 we have shown 74 films selling 5,661 tickets and raising £13,075 for the Village Hall funds. |
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Mamma Mia! Here We Go Again
Wednesday 6th February 2019
Wednesday 6th February 2019
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This slick sequel delivers sharp one-liners, joyously contrived plot twists and an emotional punch that left our critic reeling... |
Watching the original Mamma Mia! in 2008, I had something approaching an out-of-body experience. Having initially scoffed at everything from the contrived join-the-pop songs plot to Pierce Brosnan’s unique vocal stylings, I felt my feathery inner self depart from my dour exterior and start dancing in the aisles. One minute I was a miserable critic; the next, everything had gone pink and fluffy. As I said at the
time, never before had something so wrong felt so right.
A decade later, this sequel-prequel hybrid (a surprisingly smart combination) produces similarly head-spinning results. In the 1979 sequences, Lily James plays the young Donna, graduating from Oxford (via a High School Musical-style rendition of When I Kissed the Teacher) before heading off on an endless holiday wherein she will try on a pair of dungarees and a trio of handsome suitors. Meanwhile, in the present, Amanda Seyfried’s Sophie is striving to fulfil her mother’s vision (she had a dream!) with the newly renovated Hotel Bella Donna, while wrestling with the prospect of history repeating itself on this idyllic island.
The real pleasure comes from the sublime agony of hearing your favourite Abba tunes crowbarred into the narrative. As we flip-flop through the singalong hi-jinks, Hugh Skinner, Josh Dylan and Jeremy Irvine grow up to become Colin Firth, Stellan Skarsgård and Pierce Brosnan, while Jessica Keenan Wynn and Alexa Davies prove dab hands at essaying younger incarnations of dynamic duo Christine Baranski and Julie Walters.
Taking over the directorial reins, Ol Parker (who made Imagine Me & You and the underrated Now Is Good) delivers a slicker package than Phyllida Lloyd’s record-breaking original, full of elegant camera moves, snappy choreography and mirrored shots juxtaposing disparate frames, both temporal and spatial.
Alongside Parker, the credited writers include Richard Curtis, who may or may not be responsible for such post-Four Weddings zingers as “Be still my beating vagina” and “It’s called karma and it’s pronounced ‘Ha!”’
Review (Abridged) Mark Kermode, Observer.
time, never before had something so wrong felt so right.
A decade later, this sequel-prequel hybrid (a surprisingly smart combination) produces similarly head-spinning results. In the 1979 sequences, Lily James plays the young Donna, graduating from Oxford (via a High School Musical-style rendition of When I Kissed the Teacher) before heading off on an endless holiday wherein she will try on a pair of dungarees and a trio of handsome suitors. Meanwhile, in the present, Amanda Seyfried’s Sophie is striving to fulfil her mother’s vision (she had a dream!) with the newly renovated Hotel Bella Donna, while wrestling with the prospect of history repeating itself on this idyllic island.
The real pleasure comes from the sublime agony of hearing your favourite Abba tunes crowbarred into the narrative. As we flip-flop through the singalong hi-jinks, Hugh Skinner, Josh Dylan and Jeremy Irvine grow up to become Colin Firth, Stellan Skarsgård and Pierce Brosnan, while Jessica Keenan Wynn and Alexa Davies prove dab hands at essaying younger incarnations of dynamic duo Christine Baranski and Julie Walters.
Taking over the directorial reins, Ol Parker (who made Imagine Me & You and the underrated Now Is Good) delivers a slicker package than Phyllida Lloyd’s record-breaking original, full of elegant camera moves, snappy choreography and mirrored shots juxtaposing disparate frames, both temporal and spatial.
Alongside Parker, the credited writers include Richard Curtis, who may or may not be responsible for such post-Four Weddings zingers as “Be still my beating vagina” and “It’s called karma and it’s pronounced ‘Ha!”’
Review (Abridged) Mark Kermode, Observer.
Read more about Moviola at www.moviola.org
