Meet Nick Morton, an ex-soldier turned thief who uses old military contacts to help himself to ancient treasures that he then sells on the black market. When Nick and his partner in crime stumble across a buried Egyptian tomb in the middle of Iraq, they unlock an ancient princess and the curse she was buried with.
Teaming up with brilliant Egyptian archaeologist Jenny, Nick soon realises he has been marked by Princess Ahmanet for a sacriﬁ cial resurrection of Set, an Egyptian god. As all agents of the dead — including crows, spiders, rats and, of course, zombies — are amassed to serve Ahmanet, time is running out for Nick. The best thing about
The Mummy is that it doesn’t try to remake the original ﬁlms. They share a name and a few moments of historical plot line, but are otherwise separate entities. The story doesn’t feel old or tired and there’s no overload of historical subplot to override the central story, as the ﬁlm is less concerned with establishing a new series (although you certainly get those vibes by the end) and more focused on creating a more self-contained storyline.
Universal Studios has used this incarnation to establish The Dark Universe as a franchise that will encompass Frankenstein, Dracula and Dr Jekyll and Mr Hyde, the last of which also makes an appearance in The Mummy, ushering in a new world of gods and monsters. The downfall of the ﬁlm is that by the end it feels like another ﬁlm.
Aside from a zero-gravity plane crash scene, there seems to be nothing entirely new brought to the table and things happen predictably throughout the story. Tom Cruise as Nick seems just like Tom Cruise, although Jake Johnson as Nick’s friend Chris is an under-utilised character who deserved more.
The Mummy/Ahmanet herself aims to be the embodiment of female power and while Soﬁ a Boutella’s performance is remarkably stunt-ﬁlled, the menace isn’t all there (however, this could be due to the script, not her acting).
Annabelle Wallis has the brains to sustain a more well-rounded character in Jenny, but less screen time than her male counterparts relegates her to a pawn in the larger game.
Russell Crowe is Jekyll/Hyde, which wasn’t an entirely odd placement in the ﬁ lm, but it’s clearly been designed as a character introduction to bring future sequels into line.
Essentially, The Mummy is good where it could have been great, and you get exactly what you ask for when you sit down in the theatre, which is a touch of Egyptian history, spices of modern London, Tom Cruise at the helm and a new-world evil set to take over.
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