This Is a Movie Review: The Man Who Killed Don Quixote

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CREDIT: Amazon Studios

As the movie with perhaps the most tortured backstory in the history of cinema, it is unsurprising that The Man Who Killed Don Quixote incorporates plenty of elements about the difficulty of mounting a massive production. Of course, as it revolves around a man who is convinced that he is actually Cervantes’ title adventurer after starring in an adaptation of the novel, it was always going to be somewhat meta. I don’t think Terry Gilliam taps into anything especially uniquely profound in this regard, but it does feel like he is facing the plain truth right in its face. I have made a few short films myself, and I have a brother and plenty of friends who have worked in film and TV, so I understand the instinct to incorporate what’s going in your life into the films you make. Thus, in the end, this whole quixotic endeavor feels oddly comforting to me.

I give The Man Who Killed Don Quixote A Hug and a Lullaby.

This Is a Movie Review: ‘Mamma Mia! Here We Go Again,’ I Can (Mostly) Resist You

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CREDIT: Jonathan Prime/Universal Studios

This review was originally posted on News Cult in July 2018.

Starring: Lily James, Amanda Seyfried, Christine Baranski, Julie Walters, Pierce Brosnan, Colin Firth, Stellan Skarsgård, Jessica Keenan Wynn, Alexa Davies, Jeremy Irvine, Hugh Skinner, Josh Dylan, Dominic Cooper, Andy García, Cher, Meryl Streep

Director: Ol Parker

Running Time: 114 Minutes

Rating: PG-13 for Some Spicy Dialogue

Release Date: July 20, 2018

Mamma Mia! Here We Go Again wants us to care about how a young Donna Sheridan (Lily James) met the three possible fathers of her daughter Sophie (Amanda Seyfried). Or really, it just wants us to accept that as the framework around which some beautiful people frolic around a sunny Greek isle while singing the songs of ABBA … again! Audiences who already dig this sort of thing appear generally willing to accept whatever thin framework there is. (The setup in the present day, in which Sophie re-opening her late mom’s hotel is threatened by rain, is even thinner.) So it feels petty of me to call out Here We Go Again for its vaguely drawn backstories. But I wouldn’t call attention to them if the script didn’t also keep doing the same thing. Donna and her suitors keep on talking about the lives they are running away from, and if that motivation is so important, I just want to know the specifics. Or really, I think these characters want to tell us the specifics.

For certain audiences, those shortcomings won’t matter one lick, but for me, Here We Go Again never overcomes the inherent weirdness of a musical. But there is some fun to be had along the way that threatens to sweep up everyone in its path. Certainly, Christine Baranski’s tasty bons mot (“be still my beating vagina”) cannot be beat. Cinematographer Robert Yeoman really lets the colors pop, especially the oranges. And the final number, featuring the entire main cast, including Meryl Streep as a beyond-the-grave Donna and Cher as basically herself, really does manage to be irresistible. I don’t want to be a fuddy-duddy, so I will admit I enjoyed myself, but I must say it all feels rather fluffy and empty.

Mamma Mia! Here We Go Again is Recommended If You Like: Singing and Dancing Along Without Asking Any Questions

Grade: 2.5 out of 5 Waterloos