Universal Pictures’ “Dark Universe” series has not gotten off to a good start, as critics have damned “The Mummy” as a bland and predictable big-budget summer title that, unlike the pharaohs of Egypt, will soon be forgotten in the mists of time.
With early reviews in, the film currently stands at 30 percent on Rotten Tomatoes, as reviews have criticized it for failing to dedicate itself to true horror like the original Boris Karloff it is based on. They also say it fails to establish a different identity in place of that horror, as Brendan Fraser’s campy spin on “The Mummy” did last decade.
“It’s the same loud, excessive strain of blockbuster that’s cursing multiplexes, barely qualifying as horror, adventure, fantasy, thriller, or even Tom Cruise vehicle,” writes TheWrap’s Robert Abele. “The erstwhile movie star — already currently involved in two other movie franchises — has rarely seemed so diminished or ill-used by the event-sized chaos around him.”
For more critical reviews, plus some rare positive ones, check out the critics below.
“It’s not that it’s bad, it’s that it never could have been good. It’s an irredeemable disaster from start to finish, an adventure that entertains only via glimpses of the adventure it should have been. It’s the kind of movie that Tom Cruise became a household name by avoiding at all costs.”
“The jokiness risks undercutting any tension the filmmakers might have hoped of stoking up. It’s dismaying to see an actor of the power and presence of Russell Crowe hamming it up like just any other evil scientist in an overcooked B-movie. The use of London locations is on the tokenistic side.”
“Everything about ‘The Mummy’ strains solely towards setting up a franchise in a world which only makes sense to its writers. Robin Hood could just as easily drop from Sherwood Forest, Aslan from Narnia, or even Pippi Longstocking from Sweden, and the plot would soldier on regardless. That’s fun for a while, perhaps, but it’s a short while. The sole mission here is to give Universal/Tom Cruise a stake in a new world of franchises […] And ‘The Mummy’ puts the cart before that horse.”
In the end, having encouraged us to cheer for Tom Cruise as an all-around hero, the film tries to have it both ways and confer upon him some of the sepulchral glamour of evil, and he almost has something Lestat-ish or vampiric about him. Yet the film really won’t make up its mind. It’s a ragbag of action scenes which needed to be bandaged more tightly.
“The movie has a popcorn sensibility that raises it above its shortcomings. It combines a sense of humour (channelling the Fraser films more than you might expect) with moments that are genuinely creepy and unsettling. Crowe provides a delicious helping of ham, and Cruise brings his usual charisma to the mix, almost reaching ‘Jerry Maguire‘ levels at points – though the opportunity for him to cry ‘show me the mummy’ is tragically squandered.”
'Hereditary' and 9 Other Indie Horror Films to Watch Next (Photos)
The best scares always come from unexpected places. In the last few years, there have been a spate of indie horror films that have broken into the mainstream. Without the same star power or effects as your typical studio horror film, these scary movies rely on mood, style and character to create a feeling of dread, rather than jump scares. The latest is “Hereditary,” the debut film of Ari Aster that premiered at Sundance and is quickly earning a reputation as one of the scariest movies ever. If after seeing it you have a renewed taste for fright, here are nine other recent horror gems that use their modest scale to their advantage.
A24
“The Witch”
Set in 1630s New England, a family is banished from their village and starts to unravel when their baby vanishes. Starring “Split’s” Anya Taylor-Joy, Robert Eggers creates a world devoid of God in this thunderous and bleak religious melodrama.
A24
“Green Room”
Released in the wake of Anton Yelchin’s untimely passing, Jeremy Saulnier’s “Green Room” is a grizzly and intense thriller in which a young punk rock band witnesses a murder and fights off a group of Neo Nazis, led by Patrick Stewart no less. Saulnier expertly contains conflict, depth and gore within small confines.
A24
“It Follows”
“It Follows” takes the horror trope of getting punished for having sex to a new level. This monster slowly stalks you when you sleep with the wrong person, and the only way to pass it on is to bed another partner. It’s a film about guilt that forever haunts you and the fear of being watched. And check out the haunting synth score by Disasterpiece.
RADiUS-TWC
“The Babadook”
The monster at the center of “The Babadook” is a personal demon, not a literal one. Essie Davis is insanely good as a single mother on the brink of a mental breakdown as she attempts to care for her troubled young son. Jennifer Kent’s drama is a psychological heavyweight that examines how parents feed their demons to quell the pain.
IFC Films
“Goodnight Mommy”
This elegant, yet sadistic horror film from Austria resembles Michael Haneke’s “Funny Games,” yet the home invader was under the victims’ noses all along. A mother undergoes reconstructive facial surgery, but her two twin boys don’t recognize the woman beneath her bandages.
RADiUS-TWC
“Under the Skin”
Scarlett Johansson gives the most daring performance of her career in Jonathan Glazer’s surreal, experimental film. Johansson plays something between an android and alien symbiote who seduces men in order to envelop them in a dark, infinite pool of nothingness.
A24
“Only Lovers Left Alive”
Leave it to Jim Jarmusch to make the coolest vampire movie ever. “Only Lovers Left Alive” drips with style, wisdom and ironic humor as Tom Hiddleston and Tilda Swinton play hip, immortal layabouts. The fact they’re vampires might just be an excuse for them to wear sunglasses indoors.
Sony Pictures Classics
“The Invitation”
Karyn Kusama is a rapidly rising female director, and for good reason. Her film “The Invitation" plays on agitation and insecurities between a group of old friends and some suspicious strangers at a lavish dinner party. It would be fascinating for just the unnerving dread of an awkward gathering of friends, but Kusama then provides the film a killer twist.
Drafthouse Films
"It Comes at Night"
The only monsters we ever see in "It Comes at Night" are the ones that live under one roof. Trey Edward Schultz's moody, atmospheric thriller plays on our country's present division and how mistrust in others can come back to harm us.
A24
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From ”It Follows“ to ”The Babadook,“ these horror gems didn’t have blockbuster budgets
The best scares always come from unexpected places. In the last few years, there have been a spate of indie horror films that have broken into the mainstream. Without the same star power or effects as your typical studio horror film, these scary movies rely on mood, style and character to create a feeling of dread, rather than jump scares. The latest is “Hereditary,” the debut film of Ari Aster that premiered at Sundance and is quickly earning a reputation as one of the scariest movies ever. If after seeing it you have a renewed taste for fright, here are nine other recent horror gems that use their modest scale to their advantage.