--- title: "Mamma Mia! Here We Go Again" year: 2018 kind: "film" canonical: "https://film.one/film/mamma-mia-here-we-go-again" fi1m_id: "mamma-mia-here-we-go-again" imdb_id: "tt6911608" tmdb_id: 458423 wikidata_id: "Q36951175" fi1m_score: 77 critics_score: 70 critics_reviews: 23 published: "2026-10-05T14:52:42.269590+00:00" updated: "2026-10-05T14:52:42.912881+00:00" region: "GB" licence: "© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL." --- # Mamma Mia! Here We Go Again (2018) Directed by Ol Parker · 1h 54m · BBFC PG · Comedy, Romance ## Identity Mamma Mia! Here We Go Again - **Canonical:** https://film.one/film/mamma-mia-here-we-go-again - **Type:** Film - **Fi1m ID:** mamma-mia-here-we-go-again - **IMDb ID:** tt6911608 - **TMDB ID:** 458423 - **Wikidata ID:** Q36951175 - **Same entity:** https://www.imdb.com/title/tt6911608/, https://www.themoviedb.org/movie/458423, https://www.wikidata.org/wiki/Q36951175 **Fi1m score: 77** · Critics 70 from 23 reviews *In a sentence:* Lily James gives the impression that an awkward conversation would improve considerably with backing singers > Lily James makes this uneven musical sequel worth an evening. The romantic backstory runs long, but Ol Parker gives the songs enough warmth to make the slower stretches forgivable. ## Synopsis Sophie (Amanda Seyfried) shares the story with Young Donna (Lily James), whose earlier romances unfold alongside Sophie’s life. Songs carry the action between the two periods in a holiday-romance setting. Tanya (Christine Baranski) and Rosie (Julie Walters) have younger counterparts in Young Tanya (Jessica Keenan Wynn) and Young Rosie (Alexa Davies). Sam (Pierce Brosnan) and Harry (Colin Firth) also feature in an ensemble built around ABBA songs. Donna’s romantic past supplies the prequel strand, while the musical numbers connect her experiences with Sophie’s. ## Review Ol Parker understands the basic appeal of an ABBA musical, even when his screenplay takes an unnecessarily long route to the next song. This is an enjoyable sequel with a romantic backstory that needs a firmer cut. It follows Sophie and looks back to Young Donna, asking the music to connect their experiences across two periods. The performers help it past some unlikely plotting by treating the songs as things worth singing. We can forgive quite a lot when they do. Lily James is the main reason to return. Her Young Donna gives the musical numbers enough enthusiasm to keep their silliness from becoming an excuse for careless work. We grinned through “When I Kissed the Teacher”, because Lily James puts such conviction into the number that holding ourselves aloof would have felt like hard work. She is persuasive in the romance for much the same reason. There is no embarrassment in her singing, and no suggestion that enjoying ourselves requires us to stop caring about the performance. Peter Lambert’s editing does its most useful work in the movement between Donna and Sophie. Bringing the two periods together gives their experiences a connection that the romantic complications cannot always supply on their own. Amanda Seyfried takes Sophie’s feelings seriously, helping the film keep some tenderness amid the busier musical comedy. We were more moved by the connection between these women than we expected; the cutting lets their performances speak to one another without another lengthy explanation. Those passages earn the sentiment that the weaker scenes simply assume. Robert Yeoman’s photography gives the holiday romance a suitably cheerful look, though the brightness becomes a little insistent. The production design by Alan MacDonald and John Frankish is similarly indulgent, making the setting feel ready for a musical number at any moment. Michele Clapton’s costumes make the period kitsch part of the pleasure rather than a distraction from the cast. All that visual encouragement helps when the story hesitates. Ol Parker’s staging is less reliable, and some numbers depend too heavily on our affection for the music. The music credited to Benny Andersson, Björn Ulvaeus and Anne Dudley is often enough to carry a scene whose writing offers little help. Familiar material arrives with an advantage no screenplay could earn in a few scenes: many of us already know how it makes us feel. The less familiar selections have to work harder, and some expose how thinly the surrounding episodes have been written. The musical performances are generally persuasive enough to make these changes in quality manageable. Even the weaker choices get a committed hearing from the cast. Christine Baranski’s Tanya gives the comedy a precision the writing does not always deserve. Julie Walters, as Rosie, adds to the easy ensemble warmth, though the broader jokes are less dependable. Ol Parker too often extends a romantic episode after its purpose is clear, and moving between past and present cannot disguise the waiting. A jukebox musical needs some life between the songs, and this one occasionally settles for keeping its cast occupied. The passages of romantic backstory could be shorter. Anyone looking for the plot to justify every burst of singing will have a long evening. The film assumes an appetite for this music and does little to accommodate anyone without it. With that appetite, the weaker jokes and slack stretches are manageable, and Lily James gives the romance enough conviction to matter. Choose it for a night when a good chorus matters more than a tidy story. *Fi1m score 77, published 5 October 2026.* ## What the critics say Most critics welcome the sequel as a warmer, funnier and more affecting return, with several finding it an improvement on the original. Praise centres on Lily James, whose spirited performance gives young Donna’s romantic adventures conviction and helps sell the musical numbers. The ensemble’s comic energy also wins approval. For many reviewers, the ABBA songs carry surprising emotional weight, even when the story connecting them is slight. The spread runs from wholehearted enthusiasm to disappointment, with thin plotting, uneven pacing and weaker song choices accounting for most reservations. Critics also disagree over how successfully the musical numbers are staged and whether Cher is well used. Time Out finds the sequel cheesier and less magical than its predecessor, particularly without Meryl Streep’s earlier contribution. The Hollywood Reporter praises the sharper script but finds the reliance on recycled hits and weaker ABBA material disappointing. ## Straight answers **How long is Mamma Mia! Here We Go Again, and what is it rated?** *Mamma Mia! Here We Go Again* runs 1h 54m and is rated PG by the BBFC in the UK. It is a comedy and romance film. **Where can I watch Mamma Mia! Here We Go Again in the UK?** *Mamma Mia! Here We Go Again* is available to rent from Amazon Prime Video and Apple TV from £3.49. Availability is checked daily; the links above go straight to each service. **What should I watch after Mamma Mia! Here We Go Again?** After *Mamma Mia! Here We Go Again*, try [*The Young Girls of Rochefort*](https://film.one/film/the-young-girls-of-rochefort) (1967, Fi1m 84): For songs, romantic crossings and a town arranged around the pleasure of dancing. Then [*Muriel's Wedding*](https://film.one/film/muriels-wedding) (1994, Fi1m 81): More ABBA, with sharper embarrassment and a much harder look at wanting romance; and [*The Band Wagon*](https://film.one/film/the-band-wagon) (1953, Fi1m 84): For musical comedy that gives its performers room to be funny between songs. ### Reviews we read (23) - **The Guardian**, Mark Kermode (5/5): Kermode loves the sequel and says he cannot imagine it being better. He praises its knowing, ingenious use of ABBA songs and singles out the emotional impact of “My Love, My Life.” [Read](https://www.theguardian.com/film/2018/jul/22/mamma-mia-here-we-go-again-review) - **Los Angeles Times**, Justin Chang (90/100, inferred): Chang finds the sequel unexpectedly enchanting and a marked improvement on the original. He especially praises Lily James’s spirited performance and the cross-cutting that deepens the bond between Donna and Sophie. [Read](https://www.latimes.com/entertainment/movies/la-et-mn-mamma-mia-2-review-20180718-story.html) - **Little White Lies**, Manuela Lazic (3/4/4): Lazic finds the sequel brighter, funnier and more touching than expected. She praises Lily James’s fresh take on young Donna and the way familiar songs gain emotional weight. [Read](https://lwlies.com/reviews/mamma-mia-here-we-go-again) - **The i Paper**, Stuart Heritage (★★★★): Heritage finds the sequel much funnier and better than its predecessor, despite its depleted selection of ABBA hits. He praises Lily James’s vivacious performance and Cher’s exuberant moment, while lamenting that Pierce Brosnan gets no solo. [Read](https://inews.co.uk/culture/mamma-mia-here-we-go-again-review-pierce-brosnan-cher-177953) - **Variety**, Owen Gleiberman (80/100, inferred): Gleiberman finds the sequel a swooning, kitschy musical whose ABBA songs overcome its soap-opera convolutions. He especially praises Lily James’s energetic performance of “When I Kissed the Teacher.” [Read](https://variety.com/2018/film/reviews/mamma-mia-here-we-go-again-review-1202874501/) - **Vulture**, Emily Yoshida (75/100, inferred): Yoshida finds the film a breezy, sincere extension of the original, even if its plot is slight. She especially praises Lily James for selling the musical numbers with heart, and singles out the final sequence for its emotional payoff. [Read](https://www.vulture.com/2018/07/mamma-mia-here-we-go-again-review.html) - **Radio Times**, Alan Jones (***): The review describes the sequel as only sporadically lively, though it may appeal to fans of ABBA and its holiday-romance setting. It singles out the familiar fairy-tale formula as a limitation, while the music, glitter and 70s kitsch offer reasons to take a chance on it. [Read](https://www.radiotimes.com/movies/mamma-mia-here-we-go-again-review-a-sequel-that-only-sporadically-springs-into-vividly-irresistible-life/) - **Empire**, Ben Travis (70/100, inferred): Travis finds the sequel an uneven but ultimately infectious return to the series’ campy musical joy. He praises the energetic performances and ABBA numbers, while faulting the overlong prequel plot and slow pacing. [Read](https://www.empireonline.com/movies/reviews/mamma-mia-go-review/) - **Sight and Sound**, Pamela Hutchinson (70/100, inferred): Hutchinson finds the sequel a diverting, sweetly entertaining improvement on the original, despite its thin plot and cheap jokes. She especially praises the wildly whimsical “Waterloo” routine and Hugh Skinner’s comic performance. [Read](https://www.bfi.org.uk/sight-and-sound/reviews/mamma-mia-here-we-go-again-review-second-bite-sweeter) - **Screen Daily**, Demetrios Matheou (65/100, inferred): The accessible page identifies this as a review, but its verdict is unavailable. The paywall also hides what the critic praises or criticizes. [Read](https://www.screendaily.com/reviews/mamma-mia-here-we-go-again-review/5130954.article) - **The New York Times** (65/100, inferred): The review’s verdict and specific praise or criticism cannot be verified from the blocked page. The available text contains only a request to enable JavaScript and disable an ad blocker. [Read](https://www.nytimes.com/2018/07/18/movies/mamma-mia-here-we-go-again-review.html) - **RogerEbert.com** (64/100, inferred): The page could not be accessed, so the critic’s verdict cannot be determined. No praise or complaint is visible in the provided text. [Read](https://www.rogerebert.com/reviews/mamma-mia-here-we-go-again-2018) - **Slant Magazine**, Jake Cole (2.5/4): Cole finds the sequel charming and more assured than its predecessor, though its flaws remain. He praises the musical numbers’ choreography and especially Christine Baranski’s comic performance. [Read](https://www.slantmagazine.com/film/mamma-mia-here-we-go-again/) - **Evening Standard**, Charlotte O'Sullivan (3/5): O'Sullivan finds much of the sequel hateful and lazy, but says Cher’s arrival makes it cohere. She especially praises Cher’s commanding performance and voice, while noting Meryl Streep’s brief appearance brings emotional depth. [Read](https://www.standard.co.uk/culture/film/mamma-mia-2-review-here-we-go-again-needs-more-meryl-streep-but-thank-goodness-for-the-cher-joy-a3892096.html) - **The New Yorker**, Richard Brody (60/100, inferred): Brody finds the film uneven but irrepressibly charming, with its best moments arriving in a celebratory final sequence. He praises Lily James’s performance and the closing reunion, while criticizing the staging of many musical numbers and the handling of Cher. [Read](https://www.newyorker.com/culture/the-front-row/review-mamma-mia-here-we-go-again-saves-the-best-for-last) - **The Hollywood Reporter**, Leslie Felperin (40/100, inferred): Felperin finds the sequel entertaining but ultimately disappointing, calling it an adequate follow-up that leans too heavily on recycled hits and weaker ABBA songs. She praises the sharper, more emotionally complex script and singles out Cher’s entrance as a highlight. [Read](https://www.hollywoodreporter.com/movies/movie-reviews/mamma-mia-sequel-here-we-go-again-review-1127318/) - **Time Out**, Abbey Bender (2/5): Bender finds the sequel cheesier and less magical than the original. She singles out the absence of Meryl’s magic as its key disappointment. [Read](https://www.timeout.com/movies/mamma-mia-here-we-go-again) - **Den of Geek**, Delia Harrington (4/5): Harrington finds the sequel exuberant, funny, and more joyful than the first film. She singles out the infectious ensemble energy and exuberant musical set-pieces for praise. [Read](https://www.denofgeek.com/movies/mamma-mia-here-we-go-again-review-more-joyful-fun-than-the-first/) - **Consequence**, Allison Shoemaker (75/100, inferred): The critic finds the film a chaotic, illogical mess but enjoys it throughout. She especially praises the cast’s spirited performances and the joyful energy they bring to the ABBA songs. [Read](https://consequence.net/2018/07/film-review-mamma-mia-here-we-go-again/) - **Digital Spy**, Christian Guiltenane (70/100, inferred): The critic says the sequel will please fans but is unlikely to win over doubters. They praise Lily James’s performance and the late arrival of Cher, while criticizing the weaker song choices and uneven pacing. [Read](https://www.digitalspy.com/movies/a861913/mamma-mia-2-here-we-go-again-review/) - **/Film**, Karen Han (7/10): Karen Han finds the sequel an improbable but thoroughly delightful film, despite occasional lulls and thin plotting. She especially praises Lily James’s radiant performance and the film’s infectious musical fun, with Cher nearly stealing the show. [Read](https://www.slashfilm.com/559663/mamma-mia-here-we-go-again-review/) - **The Ringer**, Rob Harvilla (70/100, inferred): Harvilla finds the sequel an uneven, initially somber experience that eventually delivers exuberant musical joy. He especially praises the ABBA songs, which rescue the film and make its quibbles feel irrelevant. [Read](https://www.theringer.com/2018/07/21/movies/mamma-mia-here-we-go-again-is-a-cinematic-joybomb-sustained-by-the-songs) - **The Wrap** (70/100, inferred): The critic finds the sequel surprisingly watchable and superior to its predecessor in several respects, though it lacks the original’s party energy. Lily James is singled out as a terrific singer whose vivacious performance makes Donna’s romantic story convincing. [Read](https://www.thewrap.com/mamma-mia-here-we-go-again-film-review-lily-james-makes-up-for-near-absence-of-meryl-streep/) ## Details - **Director:** Ol Parker - **Director:** Ol Parker - **Writer:** Ol Parker - **Story:** Richard Curtis, Catherine Johnson - **Cinematography:** Robert Yeoman - **Editor:** Peter Lambert - **Music:** Benny Andersson, Björn Ulvaeus, Anne Dudley - **Production design:** John Frankish, Alan MacDonald - **Costume design:** Michele Clapton - **Producer:** Judy Craymer, Gary Goetzman, Claudia Balboa - **Cast:** Amanda Seyfried as Sophie; Lily James as Young Donna; Pierce Brosnan as Sam; Colin Firth as Harry; Stellan Skarsgård as Bill / Kurt; Christine Baranski as Tanya; Julie Walters as Rosie; Alexa Davies as Young Rosie - **Runtime:** 1h 54m - **Certificate (BBFC):** PG - **Release (the UK):** 20 July 2018 - **Genres:** Comedy, Romance - **Budget:** $75 million - **Box office:** $396 million - **Trailer:** https://www.youtube.com/watch?v=nd4cLL_MP7M ## Where to watch in the UK - Amazon Prime Video: rent £3.49, hd - Apple TV: rent £3.49, hd - Amazon Prime Video: buy £7.99, uhd - Apple TV: buy £7.99, hd *Checked 2026-10-05.* Also available in: AE, AR, AT, AU, BE, BG, BR, CA, CH, CL, CO, CZ, DE, DK, EE, ES, FI, FR, GB, GR, HK, HR, HU, ID, IE, IL, IN, IT, JP, KR, LT, MX, MY, NL, NO, NZ, PA, PH, PL, PT, RO, RS, SE, SG, TH, TR, UA, US, VN, ZA. Add `?region=XX` to this URL for another country. ## Awards - European Film Award – People's Choice Award for Best European Film 2019: European Film Award – People's Choice Award for Best European Film (nominated) ## If you liked this - *The Young Girls of Rochefort* (1967), Fi1m 84: For songs, romantic crossings and a town arranged around the pleasure of dancing. — [Fi1m page](https://film.one/film/the-young-girls-of-rochefort.md) - *Muriel's Wedding* (1994), Fi1m 81: More ABBA, with sharper embarrassment and a much harder look at wanting romance. — [Fi1m page](https://film.one/film/muriels-wedding.md) - *Sing Street* (2016): For young performers making music feel like a practical response to romantic panic. - *The Band Wagon* (1953), Fi1m 84: For musical comedy that gives its performers room to be funny between songs. — [Fi1m page](https://film.one/film/the-band-wagon.md) - *Om Shanti Om* (2007): For romance and musical excess delivered with more conviction than any sensible plot requires. --- © Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL. Canonical: https://film.one/film/mamma-mia-here-we-go-again