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The Mummy

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Alex Kurtzman’s reboot of The Mummy franchise is the first chapter in Universal’s new Dark Universe franchise. While it features a narrative concerning Princess Ahmanet (Sofia Boutella) and her attempt to rule the world (what self-respecting supernatural despot would do less?), and the attempts of Nick Morton (Tom Cruise), along with the staff of the mysterious organisation Prodigium, to stop her, the reason for the film’s production is the launch of the Dark Universe, and this is also the source of the film’s major problems. References to other films pepper The Mummy, both echoing Universal’s history of horror and foreshadowing the films we can expect in the future, not to mention random others from Raiders of the Lost Ark to An American Werewolf in London. While there can be some pleasure in spotting the references, the references interrupt the dramatic flow of The Mummy itself. Not that there is much dramatic flow anyway, as screenwriters David Koepp, Christopher McQuarrie and Dylan Kussman, working from a screen story by Jon Spaihts, Jenny Lumet and Kurtzman himself, have constructed a distinctly non-united plot, with jarring comedic interludes, a contemporary setting that adds nothing, Russell Crowe as Henry Jekyll (see if you can guess where that goes) delivering tedious exposition with a wandering accent, an unconvincing romance between Nick and Jenny Halsey (Annabelle Wallis), and various set pieces that lack thrill or menace. The cumulative effect is that the film lacks an identity of its own, feeling like various pieces cobbled together from other films past and, weirdly, future. But worse than all of this is the other part of the franchise title – it is literally too dark. The most fundamental aspect of cinema is showing images, and many a talented filmmaker makes great use of the play of light and shadow even in darkness (Zero Dark Thirty and The Descent are recent examples). Kurtzman, it seems, is no Kathryn Bigelow or Neil Marshall, as there were points during malevolent set pieces in dim locations where I was silently yelling in frustration ‘Turn the light on!’ Add to this the thematic darkness being dreary rather than disturbing, and the film lacks any joy or indeed conviction in its material. It feels deeply mechanical, an exercise in box ticking more than anything else. The irony is that the last time Universal tried to reboot their horror properties, the result was Van Helsing, which was widely slated by critics and audiences, and directed by none other than Stephen Sommers. Now there was someone who knew how to have fun with mummies.

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