The Mummy (2017) is the first film in Universal Pictures’ attempt to create a shared cinematic universe known as the “Dark Universe,” inspired by their iconic monster films from the early 20th century. Directed by Alex Kurtzman, the movie sought to kick-start this universe, weaving together classic monster mythology with modern-day storytelling. Starring Tom Cruise, Sofia Boutella, Annabelle Wallis, and Russell Crowe, it aims to offer both action-packed entertainment and a reboot of the beloved mummy mythology. However, despite the star power and nostalgic elements, the movie ultimately struggles with its identity, resulting in a film that doesn’t quite live up to its ambitious goals.
The narrative begins in ancient Egypt, where Princess Ahmanet (Sofia Boutella) is poised to inherit the throne. However, her plans are thwarted when her father’s wife gives birth to a son, displacing her from her rightful place in the line of succession. Furious and power-hungry, Ahmanet turns to dark forces, making a pact with Set, the Egyptian god of death, to regain her throne. Her ritual is interrupted, and she is mummified alive and buried deep beneath the desert. The story then leaps forward to the present day, where soldier-turned-treasure hunter Nick Morton (Tom Cruise) and his sidekick Chris Vail (Jake Johnson) accidentally uncover Ahmanet’s tomb while on a mission in Iraq.
This discovery sets the events of the movie into motion as Ahmanet’s sarcophagus is transported to London for study. Along the way, supernatural occurrences begin to plague Nick, hinting at a dark connection between him and the ancient princess. As Ahmanet slowly regains her powers, Nick finds himself caught in the middle of a centuries-old battle between good and evil, with the mysterious Prodigium organization, led by Dr. Henry Jekyll (Russell Crowe), also entering the fray.
One of the major problems with The Mummy is its inability to decide what kind of movie it wants to be. Is it an action-adventure romp akin to the 1999 version starring Brendan Fraser? Or is it a horror film, faithful to the original 1932 The Mummy that starred Boris Karloff? It tries to be both, but ends up not fully succeeding at either. The tone shifts awkwardly between action, horror, and comedy, leaving the audience unsure of how to engage with the film. Moments of intense action are undercut by forced comedic beats, while horror elements never quite develop the suspense and tension necessary to be truly effective.
Tom Cruise’s presence is both a blessing and a curse. On the one hand, his charisma and dedication to stunt work make him a reliable action star. He throws himself into the role, performing impressive physical feats that fans have come to expect from his films. On the other hand, his character, Nick Morton, lacks the depth and nuance that could have made him a more compelling protagonist. The film tries to paint Nick as a morally gray figure, a soldier of fortune who cares more about riches than doing the right thing. However, this complexity is only briefly explored, leaving his character arc feeling flat and predictable. Cruise is good at portraying the everyman caught in extraordinary circumstances, but Nick’s motivations and development remain unclear for much of the movie, preventing audiences from truly connecting with him.
Sofia Boutella’s Ahmanet is one of the film’s strongest elements. Her performance brings a certain physicality and grace to the role, and she manages to imbue the character with an otherworldly menace. Ahmanet is a tragic figure, betrayed by those she loved and forced into darkness by her desire for power. Her backstory is compelling, and Boutella’s portrayal gives the villain a sense of purpose beyond mere destruction. However, the movie doesn’t fully capitalize on her character. Despite her strong introduction, Ahmanet ultimately becomes just another CGI-driven antagonist, and her motivations and powers are left underdeveloped. The film would have benefited from more exploration of her character and less reliance on visual effects to create tension.
Russell Crowe’s portrayal of Dr. Henry Jekyll is an intriguing but underutilized aspect of the film. Serving as the head of Prodigium, a secret organization that studies and contains supernatural threats, Jekyll is positioned as a key player in the larger Dark Universe. Crowe brings a certain gravitas to the role, and his dual nature as Jekyll and his monstrous alter ego, Mr. Hyde, offers an interesting twist. However, the film spends too much time setting up future installments of the Dark Universe, resulting in Jekyll’s character feeling more like a teaser for things to come than a fully realized part of The Mummy. His interactions with Nick feel rushed and disconnected from the main plot, making his inclusion feel more like a distraction than an integral part of the story.
One of the film’s most glaring issues is its over-reliance on exposition. Instead of allowing the story to unfold organically, characters frequently stop to explain the mythology and rules of the world, slowing down the pacing and making the film feel like it’s constantly setting the stage for something else. This is particularly frustrating because the movie does feature some interesting ideas, such as the Prodigium organization and the concept of ancient gods clashing with modern humanity. However, these elements are never fully explored or given the room to breathe, as the film is too focused on setting up the larger universe rather than telling a cohesive standalone story.
Visually, The Mummy has its moments. The action sequences are well-choreographed, and the special effects, while excessive at times, are generally impressive. The film makes good use of its locations, from the vast deserts of the Middle East to the dark and foreboding streets of London. However, the overuse of CGI, particularly in the final act, detracts from the sense of danger and stakes. The film’s best moments are often the smaller, more practical effects-driven scenes, such as when Ahmanet first begins to regain her powers and the undead begin to rise around her. These scenes capture a sense of eerie wonder that is missing from the more bombastic, CGI-heavy moments.
In terms of pacing, the film struggles to maintain momentum. The first act is promising, with a blend of action and intrigue that hints at a more engaging story to come. However, as the plot progresses, the narrative becomes increasingly disjointed, with characters making illogical decisions and subplots being introduced only to be quickly dropped. The movie attempts to juggle too many elements, from Nick’s mysterious connection to Ahmanet, to the introduction of the Prodigium organization, to the budding romance between Nick and archaeologist Jenny Halsey (Annabelle Wallis). None of these elements are given the time or attention they deserve, resulting in a muddled and unfocused story.
One of the film’s saving graces is its score, composed by Brian Tyler. The music helps to elevate the tension and excitement in key moments, and Tyler does a good job of blending classic adventure motifs with more ominous, horror-inspired tones. The score often does more to create atmosphere than the film’s visuals or dialogue, adding a layer of depth to scenes that might otherwise fall flat.
Ultimately, The Mummy fails to live up to its potential as both a reboot of a beloved classic and as the foundation for a new cinematic universe. It tries to balance too many genres and ideas, leaving the final product feeling incoherent and unsatisfying. The performances, particularly from Sofia Boutella and Russell Crowe, are solid, but the characters they portray are underdeveloped and often sidelined in favor of setting up future films. Tom Cruise delivers his usual action-hero persona, but his character lacks the depth needed to carry the film. The action sequences are thrilling at times, but the over-reliance on CGI and a lack of narrative focus prevent the movie from being truly memorable.
Despite its flaws, The Mummy isn’t entirely without merit. There are moments of genuine excitement, and the mythology it touches on is intriguing enough to suggest that, with a more focused approach, future films in the Dark Universe could have been successful. However, as the first entry in this ambitious project, The Mummy stumbles, leaving audiences with a film that feels more like a series of disconnected set pieces than a cohesive story.
In the end, The Mummy (2017) stands as a cautionary tale of the risks involved in attempting to build a cinematic universe. Instead of focusing on crafting a strong standalone film, it tries too hard to lay the groundwork for future installments, to the detriment of its own narrative. While there are flashes of potential throughout, they are ultimately buried beneath a bloated and uneven story that fails to capture the magic of the original films that inspired it.
