Long before there was a D.C or Marvel Cinematic Universe, there was a Universal Monsters Universe, and “The Mummy” kicks that off for a new generation of moviegoers. Though safely entombed in a crypt deep beneath the unforgiving desert, the ancient queen Ahmanet (Sofia Boutella) whose destiny was unjustly taken from her, is awakened in our current day, bringing with her malevolence grown over millennia and terrors that defy human comprehension. From the sweeping sands of the Middle East through hidden labyrinths under modern-day London, one man (Tom Cruise) who survives a terrifying plane ride, knows the cryptic code to ending her reign of terror before it goes global, leaving a wake of devastation to those who cross her. “The Mummy” is directed by Alex Kurtzman, and is rated PG-13 for violence, action and scary images, and for some suggestive content and partial nudity.
If I could think of one term to describe the newest remake of the Universal property “The Mummy”, it would be disjointed. That’s right, Universal has gotten the motivation to once again revamp its classic series of films that include Frankenstein, Dracula, and The Wolfman to name a few. But “The Mummy” takes the court first to see if there is a place for these series of legendary films in today’s modern theater, and upon my first take of it, I have to say that the next movie has a long way to go before it can be deemed viewer-ready. Considering there are four different writers for this film, it’s certainly easy to comprehend why there are such vast and jarring displays of tonal shifts in the movie that do its continuity absolutely no favors. From my perspective, one of these writers has definitely worked on Tom Cruise action flicks before, and his voice speaks the loudest in this film. There’s a dark comedy writer who’s reminders that they exist constantly halt the movie with some of the cheesiest deliveries that alienate everything about the intended tone of this story. There’s also the faithful student of the game who has studied the original, and knows what kind of movie this needs to be. Sadly, the latter’s voice is far too limited for this offering to ever be taken seriously.
For the first act of the movie, I was surprisingly glued in to the free-flowing pacing, and gorgeous detailed set pieces that really set this exotic world up in a non-limited budget of capacity. What happens next feels like a huge step back because the film can never feel fully focused enough to continue the positivity to this structure and historical significance, jumping in so many endless directions that often consumes the bulk of what should be the title antagonist’s time on camera. For anyone expecting that this movie is going to be a chapter in the continuous trend of feminist starring roles, think again. In fact, I was greatly surprised as to how minimal both of the female leads in this movie actually played into the big stakes. Sure, Ahmanet is the central antagonist here, but midway through the movie we start to turn into a different direction, one that would rather sell the next movie in the Universal Dark Franchise instead of focus on the areas that this one so desperately needs to sell its story and characters. Ahmanet is violently pushed to the side, and the movie grinds to a screeching halt full of other characters who I couldn’t care less about. Things don’t improve by the finale for Ahmanet either, as the movie has a not so subtle way at establishing how a powerful woman is no match for a powerful man, a sentiment that doesn’t do itself any favors in modern progression.
Then there’s the painful string of exposition that feels like an infomercial that constantly takes away from what is transpiring on screen. I mentioned in my “King Arthur” review that the movie was plagued by countless flashback scenes, and so to is the problem with “The Mummy”. Instead of allowing this story to naturally flow without spoon-feeding everything to the audience, the film endlessly beats us over the head with trying to understand each shot that we previously saw in the opening fifteen minutes of the movie, which itself was ANOTHER EXPOSITION SCENE. I’m not complaining about exposition, because it plays a vital part in the evolution of the story in a film, but when it is done this non-chalantly, I have to wonder just how dumb they that they take their audience. While this movie doesn’t suffer as much as “King Arthur”, it is like constantly being told the same story that you’ve already heard a couple of times earlier. The good news is that if you missed a scene for a bathroom break, or you just fell asleep like I nearly did, this film will continue to make sure you’re covered and never lead you off of a beaten path.
The rules themselves that the movie establishes are kind of inconsistent and often times lead to some major plot holes that had me scratching my head occasionally throughout the film. Without much spoilers, Ahmanet does command Tom Cruise throughout the film after getting into his brain early on. The problem with this is it’s rarely brought up to her advantage. If she can do all of these things and seduce him to paths that go against his logical thinking, then how long does a movie really have to be that competes an Egyptian queen against an everyman thief? I also don’t understand why she needs a king at all. She has all of the power, as well as the army to back her up, so why does she seek a male suitor to stand beside her? The film’s best way to explain it is that “Well, she just wants one”. Male dominance rules in a movie, boys and girls. Then there’s the visual sight gags that gave me plenty to unintentionally laugh about. A character is captured in this film, and the choice of shot angle for this prisoner scene probably should’ve been re-done because their wrist is about half of the size of the shackle that covers it, making an easy escape that definitely shouldn’t have taken as long as it did.
Now that I’ve bitched about the negatives of the film for long enough, lets discuss some positives I had, kicking it off with some luxurious set pieces and action sequences that really riveted my experience from time to time. Even if this isn’t supposed to be an action movie, there’s enough ammunition and free-falling objects at the screen to constitute this one as the next “Mission Impossible” sequel. A couple of my favorites involved a spinning bus that came at Cruise’s character, and required him to jump into to stay safe, a couple of sandstorm scenes whose immensity in volume really upped the ante when compared to that of the 1999 Mummy movie that did the same thing, and of course the airplane crash sequence that was seen in the trailers. On the latter, this sequence is beautifully detailed for how it tangles with gravity and the fast-thinking logic that it takes to even come out of this paralyzed, let alone alive. This scene didn’t take too many liberties with the camera angles, nor too many quick cut edits, so I appreciate it for at least being a textbook example of how to shoot action in a movie that is anything but.
The cast was very hit or miss for me, especially in that of the starring roles that weren’t always given the time that they deserved. I’ve read a lot about Cruise being praised for his commitment to this role, but I just don’t get it. To me, it felt very conventional and slightly phoned in during the exposition-heavy scenes that require his reaction to get across their urgency. It just feels like he couldn’t care less about what is transpiring, and while his performance isn’t terrible, I just don’t think Cruise was the right guy for this role. Sofia Boutella makes the most of what limited time she has as this title character. As Ahmanet, it’s refreshing to see a female take on the mummy character, and her devastation pull is only surpassed by her cunning charms of seduction to locate and terminate her prey. Russell Crowe was also good for me, hamming it up as a character who I won’t mention so as not to spoil it for you. I will say that Crowe is in the film, even though the movie acts like we didn’t see his face a hundred times in the trailers, trying to keep his facial identity a secret until midway through the movie. Crowe’s responses do sometimes feel overboard, but when you find out who he is to this story, you will easily understand why this stance remains faithful to whom he represents. The scenes with Cruise and Crowe together on-screen are wondrous, even if they take away from what should be the prime focus.
THE VERDICT – Universal’s opening investment into crafting the monsters of the golden age for a new generation lacks the kind of campy thrills or tragedy in character that makes its predecessors such worthy classics. Kurtzman’s film stumbles as a hurried mess that often feels like three different movies Frankensteined into one disjointed monster, and the result is a product that neither resurrects nor rises itself from the tomb where it laid sleeping. Surprisingly misogynistic, despite its progression of female focus.