The first trailer has dropped for the new film Mamma Mia! Here We Go Again – and Cher rocked up uninvited.
The film follows on from the original movie, released 10 years sees Amanda Seyfried’s character learning she’s going to be a single mum.
Calling on her own mum’s experiences, she delves into her mother Donna’s past to learn how she coped with being an only parent.
The story centres around a younger version of Donna, played by Lily James, and the romance that led to her getting pregnant.
The trailer sees Donna falling in love with a tall dark stranger, who appears to be the younger version of Pierce Brosnan’s character, before he sails off into the sunset and leaves her behind.
The younger coutnerparts of Stellan Skarsgård and Colin Firth also feature.
But the piece de resistance is the appearance of Cher, who gatecrashes the party as Sophie’s (Seyfried) uninvited grandma.
‘Let’s get the party started,’ she says.
Sophie replies: ‘But grandma, you weren’t invited.’
‘That’s the best kind of party,’ Cher says. And she’s not wrong there.
Mamma Mia! Here We Go Again is slated for a July 2018 release.
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‘Antebellum’ has a ‘Get Out’ vibe, but doesn’t live up to its twist
“Antebellum” is built around a provocative twist, and it’s a good one — as well as one that definite..
“Antebellum” is built around a provocative twist, and it’s a good one — as well as one that definitely shouldn’t be spoiled even a little. Once that revelation is absorbed, however, the movie becomes less distinctive and inspired, reflecting an attempt to tap into the zeitgeist that made “Get Out” a breakthrough, without the same ability to pay off the premise.
Originally destined for a theatrical run, the movie hits digital platforms trumpeting a “Get Out” pedigree in its marketing campaign, since there’s an overlap among the producing teams.
More directly, the film marks the directing debut of Gerard Bush + Christopher Renz, who have championed social-justice issues through their advertising work. The opening script features a quote from author William Faulkner, whose intent will eventually become clearer: “The past is never dead. It’s not even past.”
If that sounds like a timely means of drawing a line from the horrors of slavery to the racism of today, you’ve come to the right place.
The story begins on a plantation, where the brutal overseers carry out grisly punishments against those tilling the fields. A few have just tried to escape, led by Veronica (Janelle Monae), and they pay a heavy price for their resistance, which does nothing to curb her defiance.
Also written by Bush + Renz, the script take too long before revealing what makes “Antebellum” different, but the middle portion — a “The Twilight Zone”-like phase when it’s hard to be sure exactly what’s going on — is actually the film’s strongest. (Even the trailer arguably gives away too much, so the less one knows, the better.)
The final stretch, by contrast, veers into more familiar thriller territory, and feels especially rushed toward the end, leaving behind a host of nagging, unanswered questions. That provides food for thought, but it’s also what separates the movie from something like “Get Out,” which deftly fleshed out its horror underpinnings.
Although the filmmakers (in a taped message) expressed disappointment that the movie wasn’t making its debut in theaters, in a strange way, the on-demand format somewhat works in its favor. In the press notes, Bush says the goal was “to force the audience to look at the real-life horror of racism through the lens of film horror. We’re landing in the middle of the very conversations that we hoped ‘Antebellum’ would spur.”
“Antebellum” should add to that discussion, so mission accomplished on that level. Monae is also quite good in her first leading film role (she did previously star in the series “Homecoming’s” second season), but otherwise, most of the characters remain underdeveloped.