Peter Bradshaw in The Guardian failing to realise that Colin Firth was supposed to be gay until ten minutes after the movie. In Mamma Mia! Abba is everywhere and nowhere. This is Planet Abba or Abbaworld. The characters are forever dancing and smiling and bursting into Abba songs like Stepford cyborgs when you flip the secret panel behind their heads and press the Life-Affirming Behaviour button.
Philip French, also in The Guardian, can be pretty tart at times, but here he holds in it somewhat - generously.
Roger Ebert is no worse than me in his assessment of the movie; 'It would be charity to call the plot contrived,' is about as severe as he gets.
James Berardinelli is even kinder, which just goes to show what a good bloke he is. (And he's changed the look of his page; no longer something that appears to have been typed onto the page directly from an old electric typewriter; now there's a flashy banner heading and even flashier ads.
And one last, from Salon.com. If there's going to be a sassy review with plenty of spit and bite in it, it'll be the one from this source. And I haven't even checked it out yet as I write this. But, here, as I expected:
"Mamma Mia!" is the debut feature film of British stage director Phyllida "Keep Your Day Job" Lloyd, but it feels more like a movie made by a karaoke machine than a human being: We're constantly being reminded what a great time the cast is having, particularly the women, as they cavort and mug before us, swinging their swishy skirts and throwing their heads back as if they truly believed they were channeling Dorothy Dandridge in "Carmen Jones." But it doesn't take long -- about 10 minutes, I'd say -- before their aggressive, you-go-girl joyfulness becomes outright oppression.