Review of The Mummy (2017) by Pipec — 19 Aug 2017

Here, The Mummy is not the monstrous thing.

The surprises, keeping re-encounter with one of the classic wonders par excellence, owned by Universal Pictures, are constricted. Among this narrow mosaic of satisfactions is what would be a comforting and palpitating beginning.Trying to emulate the retributive equation created by Marvel Studios with its cosmos of cinematic superheroes, Universal plans to outline its universe by reusing the characters that must be untouchable because of their one-of-a-kind legacy in cinema history, however, Hollywood's rejection of creativity, a true eyesore deserving its corresponding movie, has begun to pick on, without embarrassment and with enough paraphernalia, the monsters in order to satisfy the demands of the Millennials about knowing those dark beings. Classics of yesteryear such as "Bride of Frankenstein", "Creature from the Black Lagoon" or "The Invisible Man" are going to resurrect in the upcoming years with the help of Johnny Depp, Julian Bardem and undeniably a compendium of actors and actresses that are currently shining in the mecca of American cinema. "Dracula Untold", starring Luke Evans, was kicked off but it was harshly criticized for the loss of focus portraying the "untold" story of this iconic and lethal vampire. Due to this economic and reception flop, the studio didn't give up and started over with a clean slate, omitting such box office bomb, supposedly, to reorganize the pretensions and start on the right foot this mega-project, but what would be the story that would really redeem the master Dracula? "The Mummy".

Mythology and/or legends encompass myriad opportunities and Hollywood sharp brains have been able to take advantage of these to raise the first dark universe of history. After a round of flowers and applause by films with a large audience response and a revival led by Hammer Films in the 50s, North American cinematic mecca Universal Pictures inaugurates its corresponding movie voyage with Dr. Henry Jekyll, who's the director and creator of the surreptitious organization "Prodigium", whose mission is to recognize, contain, examine and destroy any evil entity stepping on the ground. The first to realize her not so triumphant entry is Princess Ahmanet, interpreted by Boutella.

After watching the film, one can conclude that the biggest flaw, both independent movie and inaugural work, is the feeble structuring in plot terms, because, although the introduction of the antagonist and the retrospective scenes independent Nick firmly consolidate the first act, it's difficult to feel that constant and seductive ecstatic that encompassing the Mummy, verbi gratia, in Brendan Fraser's 1998 film. Such a narrative failure originates consequents that keep on to harm the audiovisual tale; the first one comes in the name of the selfsame main actor, who had active participation in the conception of the script, for, in the end, provoke prominent interventions in the footage that should come from the true star, giving prominence to a character who will surely have weight in future installments, thus giving cause to the second big mistake: not deciding what specific genre(s) and tone(s) for the universe due to the hasty narrative ending. Is it a horror or comedy film, an initiation/Nick Morton or a mummy film, an adventure or suspense one? The film doesn't cease in production of subliminal messages for the audience on the occasion of informing of the large flow of monsters that are coming, introducing with little fluency references and signs of upcoming films. The third blemish comes from the sketch of characters, another subject in which the team of writers doesn't come out well.

The Mummy's female version flaunts different presentations ranging from an inhuman entity that drags to the aphrodisiac and intimidating look that spends most of the time chained or stealing people's lives by lip contact. The places in which the tale develops tend opacity, a complex of special effects that are supported in a palette of pessimistic colors and tones in terms of transmitting, without any success, dread, and insecurity the work must produce. As for technical aspects, they stand out for the first-rate execution of the best action sequence in the film: The plane crash, although it doesn't propose anything deeply novel in the action movie matter, managed to stir within me, thanks to furious-paced timing, an unexplained anxiety for the future of the characters, a well- deserved applause for this achievement both technical and artistic.

"The Mummy" (2017) by Alex Kurtzman is a frustrating setback and inaugural disruption in the optimistic plans of Universal. A work that could not show its possibilities because of an unsatisfactory attempt to get what Marvel's equation has built, and even DC's one. Ideas straying in the disorder of pretensions. Apparently, just as Disney, Universal must mummified already conceived plans to awaken new aces under the sleeve quickly.