Directed by: Alex Kurtzman
Starring: Tom Cruise, Russell Crowe, Sofia Boutella, Jake Johnson, Annabelle Wallis
18 years after Brendan Fraser’s ‘The Mummy’ surprised us all by actually being good and fun, we have a re-imagining of ‘The Mummy’ as the first instalment of Universal’s planned Dark Universe. Dark Universe is meant to be a shared cinematic universe (how many of those have come and gone since Marvel near perfected the formula?) of some of cinema’s most iconic monsters, including The Invisible Man, The Wolfman, and The Creature from the Black Lagoon. There is a lot of star power behind this incoming franchise, led by Tom Cruise and Russell Crowe. On paper, the conceit could be a fun one, but frankly, after ‘The Mummy’, the Dark Universe is already off to a rocky start.
When an ancient tomb and sarcophagus is discovered long-buried under Iraq, our heroes Nick Morton (Cruise) and Jennifer Halsey (Wallis) are tasked with transporting the sarcophagus to London for investigation and analysis. En route, disaster strikes as the contents of the sarcophagus, an Ancient Egyptian princess by the name of Princess Ahmanet (Boutella), is awoken and hell-bent on taking Earth for her own. Beyond that, we have a search for a MacGuffin or two, and a meeting with a mysterious figure (Crowe) who knows all too much about Ahmanet and her quest for world destruction.
For my money, despite its fairly damning reviews since its release, I didn’t find ‘The Mummy’ to be wholly without merit. Tom Cruise has, deservedly, earned himself the title of Hollywood’s go-to movie star, and he does everything he can to sell this film. Cruise is evidently having a lot of fun as he does Tom Cruise things. Whether it’s rolling around a plummeting plane, swimming away from swimming mummies (you heard), or legging it from an incoming giant face-made-of-sand in the middle of London, ‘The Mummy’ hits all the beats of your typical Tom Cruise film. Ultimately, the film is almost astoundingly generic, but when it’s “Tom Cruise generic”, you know you’re in for an entertaining time at least.
The film is also surprisingly funny in parts, using physical comedy and occasionally embracing the ridiculousness of the film. Sadly though, these funny parts are in direct contrast to much of the action on screen, which is where ‘The Mummy’ begins to unravel. Hold your applause.
‘The Mummy’ is tonally all over the place. The film regularly jumps from mysterious, Nathan Drake style tomb investigation to a scene from a horror film to the characters having friendly banter in a pub. One of the lead characters meets an untimely end in the first third of the film and their death is treated as something of a joke after the character who killed them accidentally fires a third shot. ‘The Mummy’ is a film that doesn’t entirely know what it wants to be. It even earned a 15-rating in the UK for sustained threat, but it never fully utilised its rating. In a film primarily linked to a horror character, you want more than the occasional jump scare, only a few of which are actually effective.
The key problem with ‘The Mummy’ is it tries to do too much in one film. It tries so hard to set up its own cinematic universe after so confidently opening the film with a Dark Universe title card that it forgets some of the fundamentals of making a good film.
Now, setting up the Dark Universe wasn’t entirely unsuccessful as I found a mid-point scene involving Crowe and Cruise the highlight of the film. Crowe’s, without giving too much away, alternate ego is a hugely entertaining 5 minutes that above all showed Crowe having fun. Crowe is handed an incredibly exposition-filled role as he explains to Morton and Halsey what exactly Ahmanet is and what she wants, and it’s nice to see him get a satisfying moment in the spotlight.
Where the writers (5 of them! Yes, 5!) and director Alex Kurtzman fell-short was convincing us ‘The Mummy’ was a film that could work on its own. It doesn’t commit to its characters enough as no one beyond Cruise, Crowe, and Boutella even register as anyone of interest (I found Wallis to be particularly poor in all honesty). There is no real through-line from where the film begins to where the film ends; it’s more a collection of 5 or 6 initially unconnected action set-pieces (though mostly entertaining) woven together through thinly plotted dialogue scenes.
I couldn’t shake the feeling as the film ended that what I watched was, ultimately, pointless. The film itself will leave no lasting impression beyond setting up the Dark Universe, should this even carry on after the critical mauling ‘The Mummy’ has received. I found myself mostly entertained for the majority of its run-time, but I can assure you that the 2017 reboot of ‘The Mummy’ will not leave the same lasting impression the 1999 version of ‘The Mummy’ had. Wherefore art thou, Brendan Fraser?