Review of The Mummy (2017) by Kevin F — 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. It's symbolized by the antithesis of company's opening emblematic logo, restyled by shades of gold, ochre and black colors that are placed on the anterior side of that globe that is embraced by the name of the studio, here replaced by a grandiloquent Dark Universe- that wasn't projected in the TV ads to contain the surprise factor. Trying to emulate the retributive equation created by Marvel Studios with its cosmos of cinematic superheroes-of course, it's based on its own comics-, 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" (James Whale/1935), "Creature from the Black Lagoon" (Jack Arnold/1954) or "The Invisible Man" (James Whale/1933) 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 "never told" story of this iconic and lethal vampire. Due to this economic and reception (by both critics and audiences) 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-the counterpart of Marvel's Nick Fury-, 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 Sofia Boutella ("Kingsman: The Secret Service" - "Star Trek Beyond"), a formidable warrior who decides, enraged and rash, to contact an evil ancestor after her father, out of the blue, inherited the coveted throne to his newborn son. Alas, when she's about to complete the ritual is intercepted, mummified and buried alive in the depths of infertile Mesopotamian deserts. Already today, Nick Morton (Tom Cruise) and Chris Vail (Jake Johnson) are hired alongside an American military unit in Iraq to get back an ancestral Egyptian sarcophagus, but, in the midst of their raucous feat, they find the mausoleum of the princess and, without any precaution, reckless Nick gets her dangerous awakening.

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 a 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. Having to dip into the ideas of six screenwriters ( an impressive amount that strengthens my theory about the pitiful result made by the mixture of various minds), the general story is admissible, full stop, however, Cruise's role doesn't have enough power and maturity to keep up a complete journey at his side, adding that, though the Hollywood fetish, idol actor possesses fabulous charisma, spark and vigor to do any risk scene or project he himself proposes, his acting talents don't allow him to reach the rank of the character who must live in a gray morality. The error takes on greater power by observing futile prospectus of the damsel in distress and honorary captain corresponding Annabelle Wallis and Courtney B. Vance, two actors who are wasted with no rhyme or reason. On the other side of the coin, Boutella gives her character sensuality and intimidating flexibility while Russell Crowe is the ideal actor and with the fiber required to lead this universe hanging by a thread.

The Mummy's female version in Kurtzman's movie 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.