'The Mummy' (2017) Review

The Mummy follows reconnaissance officer Sergeant Nick Morton and his partner Chris Vail as they galavant across the Middle East looting any antiquities they can find to sell on the blackmarket. In the midst an Iraqi firefight, Nick and Vail unintentionally discover the tomb of an Egyptian princess. Reinforcements soon arrive along with anthropologist Jenny Halsey, who wants to explore the crypt and retrieve any interesting artifacts the team may come across. The group stumbles upon the sarcophagus of Ahmanet and upon extraction accidentally unleash an ancient evil.

The Mummy is yet another attempt to launch a shared cinematic universe following the footsteps of Marvel Studios' startling success. Other ongoing efforts include Warner Bros.' DCEU and Legendary's Monsterverse (Godzilla (2014) and Kong: Skull Island). Anyways, Universal Studios intends to dust off their library of classic creature movies and reboot each character to revitalize one of the very first shared cinematic universes around, Universal's classic monster universe. Their proposed rejuvenated world is being dubbed the Dark Universe and Universal intends to fill it with iconic monsters including the likes of Dracula, Frankenstein, Creature from the Black Lagoon, Phantom of the Opera, and the Invisible Man to name a handful.

I believe Dracula Untold was originally intended to be the foundation of this universe, but after that film flopped the burden shifted to The Mummy. Naturally, Universal quickly went to work assembling as many A-list actors for their franchise as possible, recruiting the likes of Tom Cruise, Russell Crowe, Johnny Depp, and Javier Bardem. Therefore, Universal has a lot riding on The Mummy if they want to actually get this universe off the ground in one piece.

Alex Kurtzman helms the monster movie as his second feature length film and the end result is an unfocused, tonally inconsistent film. On one hand, Kurtzman deserves praise for successfully piecing together some cool action sequences in his first big budget affair. It's well known that Tom Cruise is one of the most dedicated action stars around today, always insistent on performing the most outrageous stunts and the insane set piece this time around is a plane crash that was actually filmed in Zero-G. However, Kurtzman doesn't really allow for these stunts to appear as though they were actually filmed in-camera. The way cinematographer Ben Seresin shoots the action and editors Andrew Mondshein and Gina & Paul Hirsch splice things together doesn't provide Cruise the guise of authenticity he's offered by his Mission: Impossible antics. 

For example, in Mission: Impossible - Ghost Protocol it is quite apparent that Cruise is a lunatic for actually dangling off the side of the world's tallest building. You can feel the sense of unease because Brad Bird allowed for longer takes and fewer cuts. The Zero-G sequence on the other hand, looks as though it were edited by a spastic five year old. 

Accomplished technical elements that are scattered throughout The Mummy include an exceptional union of visual effects, costuming, and hair and makeup utilized to fabricate Ahmanet's aesthetic. The technical crew managed to grant Ahmanet an unsettling, commanding appearance that works exceptionally well for the purposes of the film. Elsewhere, the surrounding vfx felt hastily made with a rough unfinished look (even though they're light years ahead of the 1999 version) and the score from Brian Tyler was forgettable to say the least. 

Where The Mummy fails most however is in prioritizing world-building over quality stand alone storytelling. The script simply had too many writers working on it with credits to a screen story developed by Jon Spaihts, Alex Kurtzman, Jenny Lumet and screenplay credits for David Koepp, Christopher McQuarrie, and Dylan Kussman respectively. The screenwriting team were well intentioned in trying to incorporate elements of the overarching Dark Universe in The Mummy but it simply compromises the standalone nature of the story.

Imagine if Iron Man had been bogged down by constantly informing viewers other superheroes existed instead of telling a dedicated origin story for Tony Stark and simply teasing the viewer with the possibility of The Avengers in its infamous post credits stinger. The Mummy spends way too much time with needless exposition, much of which is repeated multiple times over the course of the one hour fifty minute runtime. If the overabundant exposition doesn't freak you out, then get ready for painfully unfunny one-liners and weak characters you aren't liable to care about.

Tom Cruise commands attention from the get-go as Nick Morton, throwing himself into the mix as he would in any Mission: Impossible installment. It's exceptionally rare that Cruise doesn't deliver a dedicated performance and thankfully that's not the case here. If anything, Cruise is held back by limits the screenplay places around his character. Annabelle Wallis' Jenny Halsey is unfortunately relegated to the confines of being the damsel-in-distress and spouting out anthropologist jargon but she makes a decent love interest with what she's provided.

And it is with a heavy heart that I declare Jake Johnson's Vail character to be the most annoying sidekick imaginable. Johnson was one of my favorite parts of Jurassic World so seeing him be written as an obnoxious obstacle here was incredibly disheartening and I hope to see him bounce back.

Sofia Boutella strides forward as Ahmanet and showcases an unwieldy creepiness, that's only amplified and accentuated by her undead army. Boutella brings out the most with what she's given but is portrayed with an over sexualized characterization that simply wasn't necessary. Rounding out the cast, Russell Crowe plays an enigmatic genius and entrepreneur heading up a shadowy society and is definitely the Nick Fury of this franchise (I won't reveal exactly who he's playing in case you haven't heard).

In my mind there's no question about it, this weekend you should definitely check out Wonder Woman if you haven't already or watch it again rather than digging up this mediocre monster movie. If you're dying to get wrapped up in watching The Mummy, then I'd advise not paying any more than matinee ticket price.

To wrap things up, The Mummy had plenty of potential to be an interesting standalone feature but it sacrificed that goodwill to establish future Dark Universe entries. Perhaps The Mummy would have been better left buried, but I'm admittedly intrigued by everything the Dark Universe has to offer.

Film Assessment: D+

'The Nice Guys' Review

The Nice Guys is a buddy cop detective film set in 1977 Los Angeles. It brings the unlikely pairing of a lackadaisical private investigator and tough muscle for hire together to work on a case to find a missing girl, Amelia, and there turns out to be a much larger conspiracy at play. I won't go too much further into the details of the case since it's best going into the film with a blank slate.

The Nice Guys is the latest directorial effort from Shane Black, most well known for Kiss Kiss Bang Bang and Iron Man 3, and Black manages to seemingly recapture the atmosphere of the groovy 70s vibe (I'll never actually know since I wasn't alive) and match that with a buddy cop detective premise to provide an entertaining two hours of downright fun.

I have to commend the production design team for making what I believed to be a very convincing 70's setup along with the costume, hair and makeup departments for further adding to the authenticity. When the film didn't utilize it's groovy soundtrack that probably should be titled "Greatest Hits of the 70's," the score composed by David Buckley and John Ottman was, as those from the era would say, "far-out." Those familiar with Black's work and style won't be too surprised with what he brings to the table, pure wit.

The Nice Guys' greatest asset is it's smart screenplay penned by Black and cowriter, Anthony Bagarozzi. The two managed to craft an engaging plot that kept you guessing with interesting characters bringing charm, originality, and heart to the forefront. The dialogue in this film is literally laugh out loud hilarious and some of these one-liners had me dying of laughter in the theater. The dialogue isn't just funny because of what is said but also where it comes from, as Black and Bagarozzi craft cunning remarks and expertly stage who delivers them.

The performances from the marvelous cast only enhance these witty zingers. Russell Crowe gets to tackle the beefy role of the rugged enforcer, Jackson Healy, while Ryan Gosling slips into the role of the halfhearted P.I., Holland March.

The chemistry between these two actors is gold and the unique pairing of these distinctly different characters is the crux of what makes the buddy cop dynamic of The Nice Guys work. Both actors gave it their all and were an absolute delight to watch onscreen.

One huge surprise standout was child actor Angourie Rice, who played March's resilient daughter, Holly. Rice manages to bring both comedic gold to the film in the form of her brutally honest remarks to her father and a touch of heart as the moral center. Typically, this type of character would be brushed off as annoying, but Rice has such self assuredness that it's near impossible not to find her character endearing. Trust me, this kid has a bright career ahead of her.

I won't discuss the other actors for fear of spoilers but the supporting cast composed of Margaret Qualley, Kim Basinger, and Matt Bomer are serviceable in the capacity used. Whether it be for a few witty one-liners, villainy, or just to partake in the bizarre set pieces visited by the investigative duo, the cast certainly fill the blank spots in the narrative nicely, no pun intended.

The film has a hard "R"rating with tons of vulgarity, dark humor, and brief nudity sprinkled throughout as the missing person just so happens to be a porn star (don't worry, there's never any sex). Therefore, I feel it's only appropriate for those legally allowed to see the film (Ages 17 & up). I'd highly advise against bringing children anywhere near it.

The Nice Guys is the best original film I've seen this year in a film release schedule filled to the brim with sequels, biopics, and book, video game, and comic book adaptations. The film is remarkably charming, witty, and provides a fresh breath of originality into the film space that I feel will probably be even more enjoyable with a rewatch. I highly recommend it as a must watch for any fans of Shane Black's work or those in need of some quality original content.

Film Assessment: A-

Throwback Thursday Review: 'Man Of Steel'

This week's Throwback Thursday Review is over Man Of Steel, the film that launched DC's Extended Universe and will be further propelled with this week's Batman v Superman: Dawn of Justice. Man Of Steel is an interesting film to review because of the decisively mixed reactions from both critics and the general public and you will soon learn what end of the spectrum I lie on. Just a warning, there will be some spoilers for some major plot points in the film that I feel need to be discussed. Next week I will continue my series of reviews of the Bourne series with the second installment The Bourne Supremacy. In the meantime, I will certainly have a Batman v Superman: Dawn Of Justice review uploaded very soon.

'Man Of Steel' Review

Man Of Steel is probably one of the most divisive films in recent memory, with critics either hailing it as a masterpiece or labelling it to be a sloppy mess, and the audience's just as evenly split. I'll admit I lie more in the middle ground, as there are elements in Man Of Steel I would consider brilliant and there are portions of the film that irked me, and I feel most problems were with the creative team and not the performances or the technical aspects.

For one, the film has this bleak, dreary, grayscale filter applied for a majority of the lengthy 2 hours and 23 minute runtime that honestly looks like it was ran through some filter on Instagram. Now there is technically "color" in the film of course, but most of the sets, environments, and costumes are in a darker gray, black, or blue color palette that makes the film all the more bleak and dreary. That's another point of discussion altogether, the film attempts to emulate Christopher Nolan's Dark Knight Trilogy and it's not all too surprising since Nolan produced the project.

Now, I don't mind Warner Bros. trying to emulate their previous success with the Dark Knight Trilogy, which also helps to differ their comic book cinematic universe from Marvel's, but I don't think that everything needs to be so dark and gritty. I think a happy medium of both a dark and light tone would probably work better but Warner Bros. certainly know how to execute a darker, gritty film, and Man Of Steel is that exactly.

Man Of Steel is visually a masterpiece. This is large part to director, Zack Snyder, whose talents mostly lie with visual iconography and not the actual story itself. The cinematography feels very natural and when combined with the editing makes for a smooth viewing experience doing justice to the visual iconography Snyder brilliantly imagined. The film's visual effects are a mixed bag in my opinion. The effects for Superman's powers at times can look very fake, but for the most part seem quite authentic and are well realized. When Superman first gets his suit and flies around for a bit, the effects are remarkable and the cinematography adds to the authenticity incorporating some shaky-cam and gorgeous shots both behind and in front of Superman.

However, there is one brief moment where it is apparently clear a green screen is being utilized. In this brief moment, Superman's flight just seems mismatched with the background and there's a lighting issue where Superman looks darker than the surrounding brighter lighting and it annoys me every time I watch the film. I feel the effects for Superman's strength, heat vision, and X-Ray vision are handled exceptionally well and the sound mixing and editing are also well executed throughout. In particular, Superman's super-hearing and the Krypton technology sound effects are two of the best showcases of the excellent sound design.

One odd sound design choice though was that the weapon utilized by the Kryptonians to attempt to harvest the Earth for a new generation of Kryptonians, the World Engine, sounds like a dub-step cannon. Amidst the subject of sounds, I feel that I must comment on Hans Zimmer's fantastic score. Zimmer manages to create this grand, epic score that seems to be a perfect embodiment of the ideals of Superman but expressed in music.

The performances across the board are quite exceptional, and I have to say that both young actors portraying the younger Clark Kent, Dylan Sprayberry and Cooper Timberline, impressed me in their brief screen time. Henry Cavill makes for a very capable lead as Kal-El (Superman), although he's no Christopher Reeves, but he certainly fills all the requirements I think an actor needs to portray Superman. One thing I think he does remarkably well is his facial emoting, where he really sells that he's struggling or frustrated when using his powers and whatnot. Unfortunately, the film doesn't make time to explore the duality and pressures of balancing his normal life as Clark Kent and his super heroics as Superman but that's one element I can't wait to see explored in these future DC films, whether it be Batman v Superman: Dawn of Justice or Justice League.

Amy Adams makes for a solid Lois Lane and actually does quite a bit to drive the story, but unfortunately at times becomes too much of the damsel in distress trope because of her willingness to plunge herself into danger. Aside from those little nitpicks, Lois comes across as a strong, developed female character, whose purpose isn't purely to be a love interest.

Russell Crowe and Kevin Costner both make for great father figures to Kal-El/Clark Kent as Jor-El and Jonathan Kent respectively and you can instantly feel their connection to Kal-El due to the incredible chemistry they have with Cavill and the gravitas of both actors. Diane Lane serves as Kal-El's mother figure as Martha Kent and is terrific in that capacity but she is very much a supporting character that's relegated to a few scenes sprinkled throughout. Laurence Fishburne gets to play Perry White, and I think he was terrific in the small capacity used.

Meanwhile for our antagonists, we have Michael Shannon, who makes for a great villain as General Zod. At times he seems a bit over the top and chews the scenery, not that that's necessarily a bad thing though. I liked that he had a genuinely believable motive and like most great villains believed what he was doing was just. Antje Traue is truly awesome as Zod's lieutenant, Faora, who kicks a lot of butt and is honestly everything the character Captain Phasma should have been in Star Wars Episode VII: The Force Awakens. 

In summary, I think that Zack Snyder certainly presents a film that's very much style over substance, as the first half of the film is phenomenal but it finds itself in a sticky situation with it's grand finale that I will discuss in great detail soon. The scenes that I enjoyed watching were primarily in the first half of the film when Superman is actually saving people or the flashbacks where he's adjusting to life on Earth. I really like how the film stays primarily in the present day and jumps back to flashbacks to fill in for some crucial parts of Superman's origin story instead of wasting an hour on a young Kal-El growing up on Earth. The story is quite lacking in some moments towards the end and there are creative decisions made regarding Superman that seem out of character for the Son of Krypton that I personally see as an abundance of issues.

The action sequences are all grand and epic in scale but while they are quite awesome, I have a number of issues with a few in particular. One really small nit-pick is that these fights use the most blatant, obvious product placement although I don't see how Kryptonians destroying a Sears would convince anyone to shop there? The fights between Superman and the Kryptonians feature copious amounts of collateral damage, that just seems way too excessive. I understand that two people with these powers would destroy tons of property but the fight between Superman and Zod almost levels Metropolis.

What annoyed me to no end regarding this was that throughout the fight, Superman rarely makes any attempts to stop Zod from destroying any buildings or save any civilians, but rather actually even pushed Zod into some of these buildings. This was amidst a fight where buildings were collapsing. I feel that this interpretation of Superman was pretty reckless and there was tons of collateral damage as a result. The one time Superman did save people during this fight was when he snaps Zod's neck to prevent him from using heat vision to kill people. So yes, Zod's death was a necessary evil but it seems even more out character for Superman to kill someone, regardless of what they've done or plan to do, but this version of the hero clearly doesn't take much issue with cracking necks. The screenwriters should have avoiding putting the character of Superman, whose supposed to have a higher morality, in a position where he's forced to kill his villain. In fact, it's kinda hard to even call this interpretation a true hero and I think that is the film's biggest problem. 

Now to sum all of this up, if someone came and asked me to give a one-word review of Man Of Steel, I'd have to say that it's "meh." It's not great, but it certainly isn't terrible either, it's honestly just okay and I feel that Warner Bros. shouldn't accept something that's passable if they ever hope to truly compete with Marvel's Cinematic Universe. 

Film Assessment: C+