Mamma Mia! (2008)

Deeply strange film of the stage musical that’s built around songs by Abba. But whereas in the stage show the songs are all performed by the cast, the film mixes cast vocals with “pop video” sequences to jarring effect. 

It’s possibly the weirdest film I’ve ever seen. 

The flimsy “plot” is simple: a girl called Sophie (Amanda Seyfried) is getting married and wants to invite her father. But she’s unsure which of three possible contenders he is. So she invites them all to the Greek island hotel owned by her mother in order to find out.

Meryl Streep is surprisingly good in the main role, and sings pretty well. Pierce Brosnan comes across oddly and sings badly. Colin Firth is likeable but given little to go on in terms of the script. 

Most notable are the visuals. The lighting doesn’t look real and I don’t think it’s even meant to. It creates a kind of multi-coloured hyper-reality of its own. Some of the casting is peculiar, too. Julie Walters seems an odd choice for one of Streep’s best friends, and her “fun-loving” character is coarse and difficult to endure. Even worse is Sky (Dominic Cooper), Sophie’s unappealing fiancé.

I spent most of the film in shock, unsure what I was meant to be thinking or feeling. The Abba songs are great, of course, but did they need to be used to soundtrack a fairly banal romantic comedy?

Brooklyn (2015)

Romantic drama adapted from a novel by Colm Tóibín. 

Eilis Lacey (Saoirse Ronan) lives in a small town in southeast Ireland until a priest (Jim Broadbent) arranges for her to travel to New York and begin a new life. There, she falls in love and begins to thrive  – until family matters bring her back to Enniscorthy in County Wexford, where she’s faced with various ethical and personal conflicts.

It’s a sweet and touching story. Ronan is highly engaging in the lead role. Julie Walters is superb as the owner of a Brooklyn boarding house. 

Ireland looks too sunny and dry to be entirely convincing. Possibly those were the scenes filmed in Canada. 

Simple, lucid storytelling makes it powerful and affecting. I was put off by learning that Nick Hornby was involved in the screenplay, but thankfully he doesn’t manage to mess it up.

Film Stars Don't Die in Liverpool (2017)

Biographical drama detailing an unlikely romance between American actress Gloria Grahame (Annette Bening) and a Liverpudlian half her age (Jamie Bell). 

Their romance is shown in flashback during Gloria’s final days after she comes to stay with her young lover’s mother (Julie Walters) and his family while dying of stomach cancer. 

It’s a poignant love story that examines youth, age, celebrity, sexuality and other themes with a lightness of touch. 

It’s shot in a deliberately dream-like way, with the Hollywood sunshine deliberately contrasting with the “grim oop north” English light.

Educating Rita (1983)

Hugely charming comedy-drama written by Willy Russell and directed by Lewis Gilbert. Rita a.k.a. Susan (Julie Walters) is a 26-year-old working-class Liverpudlian who begins an Open University course. Frank (Michael Caine) is her middle-aged tutor who feels jaded about his life and career, with a failing personal life and a drink problem. As they start to get to know each other by discussing literature, the pair begin to change each other in various ways. 

The storytelling is superb. It’s funny and poignant. The two leads are perfect in their roles and they have great chemistry together. When they are both on screen, there’s not a single misjudged moment, and every element either contributes to the development of the plot or deepens the extremely well-drawn characters.

The only aspect that seemed a little out of place was Maureen Lipman as Rita's Mahler-loving "bohemian" friend. She's funny, but seems almost a pantomime caricature. A pretentious student mentor would have better served the narrative.

There’s a superb semi-electronic soundtrack by David Hentschel, too.

It was interesting to see how much the respected film critic Robert Ebert got wrong about this film: "The movie stars Michael Caine as a British professor of literature and Julie Walters as the simple Cockney girl who comes to him for night-school lessons. She has problems: She is a working-class punk with an unimaginative husband." She's not a "Cockney" and she's not a "punk". 

Maybe it just doesn't translate to American audiences.