In Hollywood's current insatiable drive to build "franchises" and therefore guarantee some degree of repeat box office success by plumbing the wallets of ravenous fanboys (and girls), Universal has joined the derby that Disney, with it's Marvel Cinematic Universe and Star Wars, and Warner Bros., with the DC Extended Universe, has been dominating thus far (although Disney has quite the leg up on Warners). Universal's answer is what they are calling the "Dark Universe", an intertwined conglomeration of their famous movie monsters that were first birthed in the 1930s. The inaugural entry to kick off this franchise is a new version of The Mummy, and if this film is any indication of what is to follow, the Dark Universe may be in trouble.
Unlike previous iterations of The Mummy, this one doesn't just have the obligatory backstory set in ancient Egypt, but throws other, somewhat inexplicable, elements into the screenplay blender involving Knights of the Crusade entombed beneath London. Their last resting place contains a jewel that, when combined with a specific dagger, will allow the God of death, Set, to possess a human body (why are ancient curses like cake recipes: leave out one crucial ingredient and your dead won't rise). We are also introduced to Egyptian Princess Ahmanet (Sofia Boutella) who thousands of years ago decides to commit patricide and infanticide against her father and brother (step-brother I think, but the screenplay is a little fuzzy on that) because she wasn't going to be the "rightful" heir to the Egyptian throne. For her crimes she is mummified alive and condemned to an underground prison in Mesopotamia (modern Iraq) because the Egyptians decided they didn't want to throw out their trash in their own backyard. Cut to modern day and Nick Morton (Tom Cruise), a long range reconnaissance officer who uses his role to also procure rare antiquities, he claims to rescue them from destruction, but more accurately to line his pockets. With his partner in crime, Chris Vail (Jake Johnson), they unwittingly discover Ahmanet's prison. Along with archaeologist Jenny (Annabelle Wallis), whom Nick had a one night stand with, they retrieve Ahmanet's remains and airlift them to London.
En route, a flock of crazed birds assault their plane, leading to its crash in the English countryside, but even though Jenny was the only one to parachute to safety, Nick isn't dead. He is revealed to now Ahmanet's "chosen" that she will use the aforementioned dagger and jewel on to bring Set to corporeal life. Nick learns this with the help of one Dr. Henry Jekyll (Russell Crowe), the head of the mysterious organization that Jenny works for, who in addition to keeping Ahmanet under control has his hands full submerging his dark side. Needless to say, Ahmanet doesn't go quietly, and various degrees of chaos ensues, including zombies and sandstorms as she pursues both Nick and the jewel for her dagger.
The Mummy is Hollywood blockbuster filmmaking on pure autopilot: grab an A-list star (although, outside of the Mission: Impossible entries, Cruise is no longer the guaranteed draw he once was), throw in a striking villain, a respected thespian in a supporting role, a sexy love interest, some occasional one-liners and a bunch of elaborate computer enhanced action sequences, and viola, a movie is given life. But just as when something mass-produced misses the touch of craftsmanship, The Mummy lacks any real reason for being than the hope that the pre-sold notion of a title and promise of future entries will put butts in seats. The script also lacks internal logic often, with certain events occurring that seem inexplicable if you were to follow what was stated earlier in the film.
It doesn't help that there are very few endearing character elements in place in The Mummy. Cruise flashes his famous smile, but his Nick is so self-involved and unlikeable that Cruise's usual charm comes across as more like smarm this time. His "romance" with Wallis' Jenny is completely dead on arrival, neither actor selling any degree of chemistry or real affection, so that when dialogue and actions suggest a devotion to each other later in the film, it comes across as patently false. Boutella, who made a distinct impression as the murderous henchwoman in Kingsman: The Secret Service and as Jaylah in last summer's Star Trek Beyond, is given little of note to do here than slink around in limited clothing and look menacing (it would have been a nice break from the norm for the standard prologues to flesh her out a bit, but alas, no such luck). The one bright spot is when Crowe temporarily lets his Mr. Hyde out and brandishes a thick Cockney accent and revels in chewing the scenery. The visual and makeup effects for the transformation underwhelm (he primarily just turns . . . purple), but Crowe seems to be enjoying himself.
Perhaps most disappointed will be audience members coming in search of an actual horror film, since that is what all these creatures were originally featured in during their heyday at Universal. Those films were pieces of mood, atmosphere and lighting, awash in elements of German expressionism. Aside from a few tepid shock scares, the only thing terrifying here is that respected screenwriters David Koepp and Christopher McQuarrie have their names attached to what will be a lackluster entry on their resumes (hopefully the payday was worth it). To produce something actually scary would have potentially affected box offices grosses, so that would be a distinct no-no.
There are a few things here and there that are decent about The Mummy, some of the action sequences are well staged, Brian Tyler's orchestral score is engaging as usual, but overall we are treated to a movie as product, where quality is sacrificed to hear the sound of cash registers ringing. The sad reality is, by putting out such a second rate film, Universal execs will most likely hear that ringing less than they could have.
Unlike previous iterations of The Mummy, this one doesn't just have the obligatory backstory set in ancient Egypt, but throws other, somewhat inexplicable, elements into the screenplay blender involving Knights of the Crusade entombed beneath London. Their last resting place contains a jewel that, when combined with a specific dagger, will allow the God of death, Set, to possess a human body (why are ancient curses like cake recipes: leave out one crucial ingredient and your dead won't rise). We are also introduced to Egyptian Princess Ahmanet (Sofia Boutella) who thousands of years ago decides to commit patricide and infanticide against her father and brother (step-brother I think, but the screenplay is a little fuzzy on that) because she wasn't going to be the "rightful" heir to the Egyptian throne. For her crimes she is mummified alive and condemned to an underground prison in Mesopotamia (modern Iraq) because the Egyptians decided they didn't want to throw out their trash in their own backyard. Cut to modern day and Nick Morton (Tom Cruise), a long range reconnaissance officer who uses his role to also procure rare antiquities, he claims to rescue them from destruction, but more accurately to line his pockets. With his partner in crime, Chris Vail (Jake Johnson), they unwittingly discover Ahmanet's prison. Along with archaeologist Jenny (Annabelle Wallis), whom Nick had a one night stand with, they retrieve Ahmanet's remains and airlift them to London.
En route, a flock of crazed birds assault their plane, leading to its crash in the English countryside, but even though Jenny was the only one to parachute to safety, Nick isn't dead. He is revealed to now Ahmanet's "chosen" that she will use the aforementioned dagger and jewel on to bring Set to corporeal life. Nick learns this with the help of one Dr. Henry Jekyll (Russell Crowe), the head of the mysterious organization that Jenny works for, who in addition to keeping Ahmanet under control has his hands full submerging his dark side. Needless to say, Ahmanet doesn't go quietly, and various degrees of chaos ensues, including zombies and sandstorms as she pursues both Nick and the jewel for her dagger.
The Mummy is Hollywood blockbuster filmmaking on pure autopilot: grab an A-list star (although, outside of the Mission: Impossible entries, Cruise is no longer the guaranteed draw he once was), throw in a striking villain, a respected thespian in a supporting role, a sexy love interest, some occasional one-liners and a bunch of elaborate computer enhanced action sequences, and viola, a movie is given life. But just as when something mass-produced misses the touch of craftsmanship, The Mummy lacks any real reason for being than the hope that the pre-sold notion of a title and promise of future entries will put butts in seats. The script also lacks internal logic often, with certain events occurring that seem inexplicable if you were to follow what was stated earlier in the film.
It doesn't help that there are very few endearing character elements in place in The Mummy. Cruise flashes his famous smile, but his Nick is so self-involved and unlikeable that Cruise's usual charm comes across as more like smarm this time. His "romance" with Wallis' Jenny is completely dead on arrival, neither actor selling any degree of chemistry or real affection, so that when dialogue and actions suggest a devotion to each other later in the film, it comes across as patently false. Boutella, who made a distinct impression as the murderous henchwoman in Kingsman: The Secret Service and as Jaylah in last summer's Star Trek Beyond, is given little of note to do here than slink around in limited clothing and look menacing (it would have been a nice break from the norm for the standard prologues to flesh her out a bit, but alas, no such luck). The one bright spot is when Crowe temporarily lets his Mr. Hyde out and brandishes a thick Cockney accent and revels in chewing the scenery. The visual and makeup effects for the transformation underwhelm (he primarily just turns . . . purple), but Crowe seems to be enjoying himself.
Perhaps most disappointed will be audience members coming in search of an actual horror film, since that is what all these creatures were originally featured in during their heyday at Universal. Those films were pieces of mood, atmosphere and lighting, awash in elements of German expressionism. Aside from a few tepid shock scares, the only thing terrifying here is that respected screenwriters David Koepp and Christopher McQuarrie have their names attached to what will be a lackluster entry on their resumes (hopefully the payday was worth it). To produce something actually scary would have potentially affected box offices grosses, so that would be a distinct no-no.
There are a few things here and there that are decent about The Mummy, some of the action sequences are well staged, Brian Tyler's orchestral score is engaging as usual, but overall we are treated to a movie as product, where quality is sacrificed to hear the sound of cash registers ringing. The sad reality is, by putting out such a second rate film, Universal execs will most likely hear that ringing less than they could have.