Mamma Mia! Here We Go Again (2018)

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.”

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.

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.

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.

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.”

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.

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.

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.

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.

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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.

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.

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.

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.

Bender finds the sequel cheesier and less magical than the original. She singles out the absence of Meryl’s magic as its key disappointment.

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.

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.

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.

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.

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.

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.