The Mummy (2017)

"The Mummy," Universal's ambitious launch into the "Dark Universe" franchise, has garnered its fair share of scathing reviews. As the studio attempts to revive its iconic Monsters of Filmland, critics have expressed concerns about the potential folly of this venture.

Let me clarify; there are indeed aspects of "The Mummy," directed (if one can call it that) by Alex Kurtzman and written by David Koepp, Christopher McQuarrie, and Dylan Kussman, that are quite exasperating. One early scene, for instance, caused grains of frustration to infiltrate my thoughts. It featured Tom Cruise, portraying a looter named Nick Morton (cleverly derived from "Mort," I finally realized), and his sidekick, played by Jake Johnson, callously massacring a group of "Iraqi insurgents" in their quest for a mysterious treasure. It's disheartening how filmmakers employ a tragic and ongoing war, which continues to wreak havoc globally, as a backdrop for their trite horror plot.

Moreover, the movie exudes a distinctly old-fashioned sexism. "The Mummy" introduces two female characters: one being the corrupt yet undeniably attractive ancient Egyptian royal, Ahmanet, who embodies all things evil upon her resurrection in the present day (Sofia Boutella, unfortunately accustomed to ill-utilization in films). The other is Jenny, a faux-archaeologist and genuine anti-evil secret agent (played by Annabelle Wallis), whose primary purpose seems to be serving as Nick's damsel in distress. Her superficial portrayal suggests that Nick prides himself on being a charming scoundrel.

Certainly, one could choose to take offense at these elements, and there are valid reasons to do so. However, I must confess that amidst this venality, there is a certain audacious quality about the film that I almost find admirable. Its shameless appropriation from other, superior horror and sci-fi movies is so relentless that I couldn't help but create a checklist of all the referenced films. The opening scene, for instance, unearths remnants of a lost civilization during underground subway construction, reminiscent of "Quatermass and the Pit" or "Five Million Miles to Earth." As many reviewers have noted, once Jake Johnson's character embraces his undead wisecracking persona and warns Nick about Ahmanet's curse, echoes of "American Werewolf in London" reverberate, albeit with tamer special effects. The film also borrows elements such as a life-draining kiss from the offbeat space-vampire movie "Lifeforce," a brain-draining insect from "Star Trek 2: The Wrath of Khan," and slapstick undead attackers akin to those in "Evil Dead." Additionally, underwater battles with the undead reminiscent of Lucio Fulci's "Zombie" make an appearance (albeit significantly toned down). Even the intonation of the line "Plans?" matches Sir Ralph Richardson's delivery in "Tales from the Crypt." I won't even delve into the appropriation of a famous line from Universal's "Bride of Frankenstein," although it's worth noting that the studio rightfully owns it.

Much has been said about the fact that Tom Cruise, the formidable actor, subjected himself to such mediocrity, and that Russell Crowe further deepened his self-parody by portraying the head of Jenny's anti-evil agency as Dr. Henry Jekyll (yes, it's the same actor). However, I can't muster much sympathy for either star. Long before Crowe, Richard Harris and Richard Burton discovered that there comes a point in a loose-cannon macho actor's career where

the pragmatic approach of seizing any opportunity that comes their way is the wisest course of action. Cruise, known for his adventurous spirit and penchant for franchises, isn't exempt from this phenomenon. Admittedly, the character of Morton lacks depth compared to his previous roles. I must admit, given the film's conclusion, I half expected him to be named Larry Talbot. Perhaps, in the next installment, he'll be compelled to adopt a different moniker. I'm intrigued, albeit driven by sheer curiosity, about what lies ahead.

In conclusion, "The Mummy" has undoubtedly received its fair share of criticism, and there are valid concerns about its execution and portrayal of certain themes. Nevertheless, I find a peculiar charm in its audacious borrowing from other films and its unapologetic embrace of genre tropes. While it may not be a groundbreaking or flawless piece of cinema, it manages to entertain on a certain level, even if it's through unintentional humor or familiar references.

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