“Welcome To A New World Of Gods And Monsters…”
Adding a new layer to the ongoing genre of Universal Horror, a cinematic legacy which began all the way back in the 1920’s. the newest blockbuster franchise comes in the form of the so-called “Dark Universe”, a directed step into another legion of remakes and re-imaginings which begins this week with The Mummy and is set to continue into the future with fresh interpretations of classic monster movies which are reported to include the likes of Van Helsing, Frankenstein’s Monster and of course, Dracula. Taking the time away from beating the heck out of people in Jack Reacher and flying super speedy jet planes in the upcoming Top Gun sequel, Tom Cruise leads the way as the flagship star of the franchise’s beginnings in the latest incarnation of The Mummy, a well-known and well-versed adventure tale, with arguably the most popular representation being the Stephen Sommers led take in 1999 which featured a clean shaven Brendan Fraser and a pre-Daniel Craig infused Rachel Weisz. With Alex Kurtzman on directorial duty, a filmmaker with a background in the likes of movies such as Star Trek, Star Trek Into Darkness and Mission: Impossible III, the latest incarnation of The Mummy is unfortunately a generic, overblown snooze-fest, ultimately resulting in a movie which begins the Dark Universe franchise in a rather mediocre manner to say the least.
With a narrative which is more than familiar in terms of the overall set-up of the titular bandaged antagonist, The Mummy suffers too from a wild scope in tonal bipolar, changing from B-Movie horror to cringe-inducing comedy in between an array of soulless set pieces which either consist of endless CGI hollowness or people wildly screaming whilst being shot at with both never actually managing to induce a sense of threat into the proceedings. At the heart of the action, the duo star power of both Tom Cruise and Russel Crowe never really have anything juicy to work with either, and although Crowe’s character reveal was quite charming in a in-joke, canon kind of way, Cruise’s overly cocky and quite annoying leading character is at its’ best a poor depiction of Brendan Fraser. Similarly, although Boutella has all the hallmarks of a beautifully seductive Egyptian princess, her campy leading villain is ultimately a dead rubber alongside a long list of supporting characters who are either there for cannon fodder or for cranking the creaky narrative into place. The Mummy isn’t exactly terrible, it just reeks of laziness, and for a movie which is meant to propel a new franchise into some sort of success, Kurtzman’s movie doesn’t do the job effectively enough to wonder where it ultimately goes next.
Overall Score: 5/10
“We’ve Got No Ship, No Crew, How’re We Going To Get Out Of This One…?
Taking the helm as only producer this time around, it is resoundingly safe to say that J. J. Abrams is the all-round geek saviour of the 20th century where long before breaking box office records and smashing countless other cinematic achievements with Star Wars: The Force Awakens, Mr. Abrams lit the fuse once again in regards to the nations’ love of Star Trek, with a brand new team of space explorers being offset with a brand new timeline, expanding the stories of the crew upon the Enterprise to new and exciting limits. Now, six years since the first Star Trek reboot, Star Trek: Beyond continues the blockbuster success of the franchise, where although it could be regarded as the weakest of the three so far, Justin Lin’s directorial space debut is solid and sometimes spectacular summer popcorn fun featuring everything you would expect from an array of actors each used to their own talents on and off-screen in the six years from which they first began their voyage into deep space, albeit if the series itself is beginning to feel ever so slightly formulaic.
Beginning with a portrayal of a day in the life of our beloved Enterprise crew, Star Trek: Beyond begins rather slowly and then ascends into a two-hour survival mission against the ominous yet dedicated figure of main antagonist Krall, played expertly by everyone’s favourite Bond hopeful, Idris Elba, and his pack of cronies, hell bent on bringing destruction to those who wronged them in the past. If anything, Krall’s role in Beyond is all too small, where although Elba’s performance is enough to make him an effective bad guy, the script just doesn’t allow his character to become complex enough to make him memorable. Of course, the one-two of Pine and Quinto brings the bromance factor to the table, sidelined by the cling-on (no pun intended) of third wheeler Bones, whilst the bad-ass duo of Zoe Saldana and Sofia Boutella gives the female characters an extensive role to bring to life. Of course, overshadowing the release of Beyond is the deeply saddening loss of Anton Yelchin, an actor lost too young and an actor whose roles in films such as Green Room and the Star Trek franchise means he will not swiftly be forgotten. Beyond is Star Trek to the T. A classic adventure with some great thrills, if not entirely up to the mark of its’ predecessors within the 21st century revival trilogy.