When I heard this was looming on the cinematic horizon, my first thought was, ‘What, again?’
But then I realised it was actually as far back as 1999 and 2001 respectively that Steven Sommers enjoyed box-office hits with his two instalments of sarcophagus-bothering and, as it transpires, this is something rather different: the opening salvo in a series of ‘Dark Universe’ films. Inspired, no doubt, by what Marvel and DC are currently doing with their back catalogue, the bigwigs at Universal have clearly decided to raid their vaults and resurrect some of their most celebrated monster-themed hits. This initial offering has Tom Cruise attached, which is probably as close as you can get, in these troubled times, to a guarantee of bums-on-seats.
Here, Cruise plays Nick Morton, a not altogether honourable guy, who spends his time in war zones, ‘liberating’ antiquities (i.e. nicking them and flogging them on the black market). In war torn Iraq, with his sidekick, Chris (Jake Johnson), he stumbles upon a tomb – an Egyptian tomb, which is around a thousand miles away from where it ought to be. The audience has already been tipped off in a pre-credits sequence as to the provenance of said tomb (there’s a lengthy preamble about crusaders and murdered pharaohs), but what Nick doesn’t know is that this place is actually a repository for the undead soul of Ahmanet (Sofia Boutell), who has been waiting five thousand years to be reborn. What’s more, one glance at Nick and she’s smitten by him – probably because, just like her, Cruise is somewhat older than he looks and incredibly well-preserved.
At any rate, Nick quickly finds himself possessed by Ahmanet and suffering from confusing visions of shifting sands and a mysterious jewel-handled dagger. Antiquities expert (and convenient love interest) Jenny Halsey (Annabelle Wallis) promptly whisks him over to London for a meeting with Dr Jekyll – yes, that Dr Jekyll (Russell Crowe) and many supernatural shenanigans ensue, replete with all the usual suspects – rats, spiders and scarab beetles.
This is actually a bit of a romp and, though there are some fairly grisly sequences, scattered throughout the proceedings, the accent is mostly on humour. Director Alex Kurtzman keeps the pot bubbling and never lets things get too bogged down in detail. The film occasionally borrows quite shamelessly from other hit movies– a repeated trope with Nick talking to an undead companion could have been lifted directly from John Landis’s An American Werewolf in London – but there is at least a decent script that actually displays a modicum of knowledge about Egyptian mythology. The more eagle-eyed viewers may spot items on display in Dr Jekyll’s laboratory that hint at other Universal products waiting in the wings for their chance to step back into the spotlight. Is that a vampire’s skull in a glass jar? I wonder, who can that belong to? And that scaly hand… The Creature From the Black Lagoon? At any rate, next for this treatment is The Bride of Frankenstein, so don’t say you haven’t been warned.
Horror movie purists will undoubtedly find themselves disappointed by The Mummy – it never really conjures up enough menace to totally creep you out – but those who, like me, go along with very low expectations, could actually wind up pleasantly surprised by what’s on offer. Give it a chance. It might be just your cup of mercury.