The Mummy: Movie Man Jackson

Power isn’t given. It’s taken. In ancient Egypt resides Princess Ahmanet (Sofia Boutella). She has power, but she desires more, and goes about attaining it in a sinister way. She comes close to doing so, but is thwarted at the last moment, mummified into a tomb for her transgressions, and cast out of the ancient land.

Fast forward to present day Mesopotamia, aka Iraq, where soldier-of-fortune Nick Morton (Tom Cruise) and accomplice Chris Vail (Jake Johnson) are looking for the next big score to sell to the black market. After surviving a battle, they come across the massive tomb of Ahmanet. Unwittingly, Nick releases her back into this world, and as a result, becomes a target for the resurrected princess who looks to complete the sacrifice she was unable to thousands of years ago.

Peace and love and universes, man. That’s what it feels like in 2017, with Marvel leading the way, DC playing aggressive catch-up, while Warner Bros (on a vastly smaller scale despite ironically featuring two of the biggest monsters in the world) and Universal feeling like they’ve got the IP to launch their own interconnected offerings. Just in case one didn’t know, Universal wants to make sure it’s known that The Mummy is the launching pad of the “Dark Universe” by saying so before The Mummy even begins in Universal font. It’s a bit much. But the end feeling walking out of The Mummy is that of a competent, yet somewhat disposable, summer blockbuster.

The Mummy 2017 serves as director Alex Kurtzman’s (People Like Us) first big-budget feature. He’s got a little bit of a difficult task in not only reestablishing a major monster character, but a larger universe. He mostly succeeds in this, at least in the first two-thirds. Though getting off to a bit of a rough start with some overlong story exposition (more of a writing fault than anything), Kurtzman generally settles into a directorial groove, with the highlights being some thrillingly fun action sequences peppered throughout adjoined by a solid score from the popular Brian Tyler. There’s been better CGI in summer blockbusters, but what’s found here gets the job done. One caveat: Stay away from the 3D offering, as it does little to nothing to enhance the overall presentation.

Surprisingly, the movie handles its juggling of a singular world along with introducing bigger matters fairly well. But, by the end, The Mummy bookends itself with more obvious exposition and promises of “a world of gods and monsters,” just in case it wasn’t known already. A simple mid-credits scene may have worked just as efficiently. Any attempts at emotional or intellectual investment fails to register much of a pulse, such as an inorganic, hot-shotted romance that seems to be exist only because the two leads are good-looking. Humor is hit and miss—sometimes a really big hit—but other times undercutting what intensity may be there.

There aren’t many legitimate mega movie stars that exist nowadays, but Tom Cruise still serves as one of them. He’s playing a role that many people could play in Nick Morton, but Cruise still brings some excitement if only because he’s Tom Cruise, running and delivering comedic lines like only he can. However, he’s got the same problem that Jake Johnson (takes a while to realize anytime ‘Nick’ is said in The Mummy, they’re not referring to Jake), has in this movie: They’re playing themselves, which I don’t think The Mummy is going for. Johnson’s character in particular, though occasionally funny, would fit better in a different production, like a Halloween episode of New Girl or something.

Little can be said for the person Annabelle Wallis stars as. Initially appearing to be an interesting, do-it-herself character, her character is ultimately revealed to a basic damsel archetype with no chemistry had with Cruise. Two standout performances come from Russell Crowe and Sofia Boutella. The trailers have done a great at hiding who exactly is Crowe, and the reveal as to how he fits into this upcoming world may be the best aspect of The Mummy. It’s excellent casting and perhaps the biggest reason to get excited about this future universe and a few age-old monsters. Boutella’s been knocking it out of the park recently in Kingsman and Star Trek: Beyond; this role doesn’t allow her to be as physical as those, but her presence is notable.

 

There’s absolutely nothing new or overly impressive hiding in the tomb of The Mummy. But for a 110 minute feature in the heat of the blockbuster season, there are worse fates than being a middling big-budget film made for eating popcorn during and not thinking much about afterwards.

C+

Photo credits go to flickeringmyth.com, impawards.com, indiewire.com, and cheatsheet.com.

For additional detailed thoughts on films both small and large, games, and the key moments that comprise each, check out ThatMomentIn.com

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Office Christmas Party: Movie Man Jackson

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Ain’t no party like an Office Christmas Party cause an office Christmas party don’t stop. Christmas is coming around the corner at Zenotk, a Chicago-based technology company led by its manager Clay Vanstone (TJ Miller). Spirits aren’t exactly high in the office; the company isn’t meeting its profit goal, and the threat of layoffs and the branch being closed is high. Clay’s uptight CEO sister, Carol, (Jennifer Aniston), wouldn’t mind this, as she’s always had some jealousy towards her brother.

The only shot Clay has in saving his branch and the employees he loves is to land a big client. When the pitch he, CTO Josh Parker (Jason Bateman), and lead engineer Tracey Hughes (Olivia Munn) make to industry leader Walter Jones (Courtney B. Vance) fails, they have but one last card to play: Invite Walter to their annual “nondenominational holiday mixer,” aka Xmas party. Here, they can show why they are a company worth giving business to. Even if this fails, at least the company goes out in a blaze of glory, right?

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The party comedy. I never really think of that as a subgenre, but it absolutely is, whether as a launching pad to the rest of the movie, à la The Hangover or This Is the End, or the movie itself such as Project X, Sisters, and House Party. Throw the obviously-named Office Christmas Party into that subgenre, sharing similarities with the aforementioned titles. So what does this mean?

It means that Office Christmas Party is stretched pretty thin. Certainly, with a title like such, one’s not exactly expecting a well-woven screenplay. On one hand, kudos should be given to writers Justin Malen, Laura Solen, Dan Mazer, Jon Lucas, Scott Moore, and Timothy Dowling for trying to cobble up some story and character relationships around the massive party. And, they kind of achieve in the first act right before it.

On the other hand…that’s a lot of writers that have a hand in contributing to the story! Around the midpoint of the party, things start to go haywire in the script and not necessarily in the best comedic ways. Throw in some forced reconciliation and commensurate romances into mix as well. Some less interesting side characters and plots get promoted to “A” status while more interesting side characters and plots get cast to the storage closet. It does make a person wonder if a few less party planners  writers could make for a stronger offering.

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The party itself is riotous, maybe not full of non-stop hilarity, but definitely where Office Christmas Party gets the bulk of its laughs, supplied by a good portion of its all-star cast. Kate McKinnon and TJ Miller are probably the most valuable players, much more hit than miss anytime they’re on screen. Miller in particular brings the most honest-to-goodness nature, his manager reminiscent of a poor man’s Michael Scott which provides the movie with a little holiday sentimentality. Smaller character like Courtney B. Vance (huge surprise), Randall Park, and Rob Corddry steal scenes.

Not all of the all star cast is comedic fire though. There’s no bigger fan of straight man Jason Bateman than yours truly, but he is slightly dull here and not as funny as in previous films. Olivia Munn’s never really been comedic, and Jennifer Aniston, someone who’s proven to be legitimately funny numerous times (often with Bateman), is nothing more than a overly mean witch. The pimp character played by Jillian Bell sounds great in doses, but becomes annoying by film’s end once she becomes a central figure.

OFFICE CHRISTMAS PARTY

Far from a fruitcake but not the best gift ever, Office Christmas Party is the proverbial gift card gift in movie comedy form. Won’t be mad with it and can certainly get some usage out of it, but not a gift to remember, either.

C+

Photo credits go to comingsoon.net, indiewire.com, and yahoo.com.

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