The first reboot of The Mummy in 1999 was silly, cheesy popcorn entertainment. It wasn’t anything special, but it grossed more than $400 million worldwide, spawning two sequels of decreasing quality. The franchise, like the Mummy itself, was left for dead in 2008 after the disastrous third entry, Tomb of the Dragon Emperor. Like any good member of the undead, the Mummy is back after 11 years, this time sporting Tom Cruise and the kickoff to a cinematic universe of classic movie monsters.
Even with a megastar and an entire universe behind this dark and dreary version of The Mummy, it doesn’t hold a candle to the bright and colorful 1999 version.
Cruise stars as his typical cocky self with Annabelle Wallis, Russell Crowe as Dr. Jekyll/Mr. Hyde, Jake Johnson and Sofia Boutella as the title character. The plot is a rehash of the previous Mummy films: a mummy wakes up, sucks up people’s life for regeneration, then goes on a rampage as epic as the CGI and budget allows.
The decision to create a cinematic universe out of a group of monsters that were at best loosely connected to begin with reeks of money, but that’s a “no, duh” statement. Dubbed the Dark Universe, this is Universal Studio’s attempt to cash in on the cinematic universe craze started by Marvel and copied by DC, now Universal, and soon Paramount’s Transformers universe will hit theaters.
The funny thing about the Dark Universe is Universal tried it once before with the horrific, awful, please God burn the negatives of the print Van Helsing. That Hugh Jackman monstrosity – phrasing – combined Abraham Van Helsing, Dracula, Frankenstein and his monster, Dr. Jekyll & Mr. Hyde, and a werewolf, much like this new Dark Universe. The Mummy is meant to be the start of that universe, which also includes a Bride of Frankenstein film, The Invisible Man, The Phantom of the Opera and The Hunchback of Notre Dame.
But why kick things off with a new Mummy? It’s lazy. More to the point, why would Cruise star in the film? Sure, The Mummy tries to be a “Tom Cruise” movie, giving his character the typical, “cocky a------e turns good” arc that defines most Cruise films, but it fails in spectacular fashion. If Cruise’s arrogance isn’t fun, or in the case of Edge of Tomorrow leads to a series of deaths, there’s no point. The Mummy has neither, instead featuring the most unlikable Cruise character since … ever? Maybe Lions for Lambs?
Alex Kurtzman, making his directing debut, seems lost behind the camera. Every decision made feels like it was done to appease a studio suit, editing out everything that isn’t loud or goes boom. The result is a near-incoherent mess with massive gaps in logic and questionable character motivations that never go unanswered.
If this Dark Universe – which is such a big deal, the film has a logo for the universe before the opening credits – is to thrive, things better improve. Because if The Mummy is any indication, this universe will get sucked into a black hole before it even has a chance to untangle its bandages.