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By now you’ve probably read a number of scathing reviews of “The Mummy,” Universal’s inaugural entry in a possibly grievously ill-advised “Dark Universe” franchise, wherein the legendary studio intends to reboot its most Famous Monsters of Filmland. Perhaps I’m becoming jaded in my old age, but I was more amused than appalled.

Don’t get me wrong. “The Mummy,” directed (if that’s what you want to call it; I honestly think the better term here is “ostensibly overseen on behalf of the studio executives”) by Alex Kurtzman from a script by David Koepp , Christopher McQuarrie , and Dylan Kussman , has plenty to get irritated about. I got sand in my synapses during an early scene in which Tom Cruise , as a looter named Nick Morton (oh, “Mort,” I get it now), and his sidekick, played by Jake Johnson , casually slaughter a bunch of “Iraqi insurgents” trying to track down a mysterious treasure. Oh, sure, filmmakers, by all means use a tragic and unnecessary war that’s still yielding horrific consequences for the world as the backdrop for your stupid horror movie plot machinations, no problem here.

And, of course, there’s the movie’s very old-school sexism. "The Mummy" has two female characters: One is corrupt albeit not unattractive ancient Egyptian royal Ahmanet, who, once freed from her tomb in the present day, is the incarnation of all evil and stuff. (She is played by Sofia Boutella , whose filmography testifies that she’s accustomed to being ill-used in motion pictures). The other is faux-archeologist/genuine anti-evil secret agent Jenny ( Annabelle Wallis ) who’s mainly around to be rescued by Nick, and whose surface venality suggests that his business card describes him as a “lovable rogue.”

So yes, should one choose to take offense, one certainly may. But I have to be honest—speaking of venality, I found something almost admirable about the film’s cheek. It’s amazingly relentless in its naked borrowing from other, better horror and sci-fi movies that I was able to keep occupied making a checklist of the movies referenced. At its opening, remnants of a past civilization are discovered while workmen are tunneling underground for a new subway route. That’s from “Quatermass and the Pit,” aka “Five Million Miles to Earth.” As many other reviewers have noted, once Jake Johnson’s character buys in and is reborn as a wisecracking undead sidekick warning Nick about how he’s been cursed by incarnation-of-evil Ahmanet, it’s “American Werewolf in London” time, albeit with PG-13-rated special effects rather than the side of ketchup-dipped corned beef that fell from Griffin Dunne ’s face in the earlier movie. What else? A woman whose kiss drains the life force out of those who receive it, from the wacky space-vampire movie “Lifeforce”? Check. A brain-draining insect in the ear from “Star Trek 2: The Wrath of Khan”? Check. Spavined slapstick undead assaulters out of “ Evil Dead ”? Check. Underwater fights with the undead out of Lucio Fulci ’s “Zombie”? Check. (These too are toned down considerably from the source material.) Someone saying “Plans?” with the precise intonation Sir Ralph Richardson used in “ Tales from the Crypt ”? Also check. Don’t even get me started on the, um, appropriation of a famous line from the Universal monster movie “ Bride of Frankenstein .” But that’s life, and that movie literally IS Universal’s property.

There have been a lot of crocodile tears already shed about the fact that The Mighty Tom Cruise has allowed himself to be used in such dreck, and also that Russell Crowe has been compelled to continue to sink into a form of self-parody by appearing as the head of Jenny’s anti-evil agency, a character named Dr. Henry Jekyll, and yeah, it’s the same guy. Or some iteration of the same guy. As it happens, Dr. Jekyll was never one of the Universal Studios monsters, but the character IS in the public domain, so I guess the corporate overlords of the Dark Universe figured “what the you-know-what.” 

Anyway, I cannot feel too aggrieved for either star. As Richard Harris and Richard Burton found out for themselves many years before Crowe came along, there comes a time in the career of every loose-cannon macho actor where the any-port-in-a-financial-year-storm approach to career management is all for the best. As for Cruise, he is known for his try-anything-once sense of cinematic adventure, and he does like his franchises. The Morton character is admittedly more of a callow nothingburger than any he’s played. And given how the movie ends I’m a little disappointed that he wasn’t named Larry Talbot. But who knows, maybe he’ll be obliged to change it for the next installment. Which I am looking forward to, out of nothing but base curiosity.

Glenn Kenny

Glenn Kenny was the chief film critic of Premiere magazine for almost half of its existence. He has written for a host of other publications and resides in Brooklyn. Read his answers to our Movie Love Questionnaire here .

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The Mummy (2017)

Rated PG-13 for violence, action and scary images, and for some suggestive content and partial nudity.

110 minutes

Tom Cruise as Nick Morton

Sofia Boutella as Princess Ahmanet / The Mummy

Annabelle Wallis as Jenny Halsey

Jake Johnson as Sgt. Vail

Courtney B. Vance as Colonel Gideon Forster

Russell Crowe as Dr. Henry Jekyll

• Alex Kurtzman

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• Jon Spaihts
• Jenny Lumet
• David Koepp
• Christopher McQuarrie
• Dylan Kussman

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• Paul Hirsch
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• Andrew Mondshein

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‘the mummy’ director on the ending’s terrifying evolution.

Alex Kurtzman gives clues as to what's going on after the credits role.

By Aaron Couch

Aaron Couch

Film Editor

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[Warning: This story contains spoilers for Universal’s The Mummy . ]

With  The Mummy , Tom Cruise takes on his biggest onscreen transformation yet.

The final moments of the Universal film tease a very different type of character for Cruise to sink his teeth into going forward, should he return in titles in the Dark Universe, the shared universe the studio is launching with this movie.

Cruise’s Nick Morton sacrifices himself in order to defeat the Mummy (Sofia Boutella ) and resurrect Jenny ( Anabelle Wallis). Morton is no longer a man, but has truly become a monster, with his face wrapped in bandages, apparently too horrifying for us to see. Cruise’s deformed face in 2001’s Vanilla Sky or his gray look in 2004’s  Collateral  caused quite the stir among fans, so it’s safe to say that his monstrous turn, when it’s revealed, could do the same.

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In a conversation with Heat Vision , director Alex Kurtzman reveals what those final moments mean for the future of the franchise and describes shooting one of the film’s most memorable set pieces.

The underwater scene looked particularly challenging to accomplish. What was involved?

Several things: Our approach in general was to shoot as much practically as we could, and use CG to augment that reality. We wanted everything to feel real. I did not want to create CG zombies. … The sheer claustrophobia of it, the long, long takes where you are just watching them swimming toward him, I thought would be incredibly uncomfortable. Inside a water tank, we built the set. A fair amount of the environment of the set is CG. There were limitations for what we could actually build there, and there certain things that were practically possible. There was a lot in environment around them that you couldn’t tell was CG, and that’s because where your eye goes is to the real people in the frame.

We worked with an amazing group of dancers for about six months to develop the look and feel of the zombies. As a methodology, the idea was, we’re always going to put people in the frame, because the human eye cannot be tricked by CG when it comes to that kind of movement, but it can be tricked if the bulk of what you are seeing is real. You get real actors, and what we did was skinny them down in CG and remove their hands and heads, and replace those with skeleton hands and heads. What you are seeing is predominately all practical. … Your brain hopefully succumbs to the illusion. 

The movie ends with the face of one of filmdom’s most handsome leading men covered. How did you come to that decision, and how much do you know about what his character’s face looks like under there?

It was definitely a conscious choice, and it was a choice that evolved out of a lot of design work. You always want to throw a lot into the design work. We did designs where you turned Tom into an absolute monster and you can’t recognize his face. We did a version where we went halfway and you saw and there were just little details. At the end of the day, I subscribe to the “hide the shark” theory. If you give the audience just enough that their imagination can run wild, it tends to be far more effective than just letting them see everything in the harsh light of day. That led to the idea that what we didn’t see will be far scarier than what we did see. We actually used a fair amount of the design from Tom looking like a full monster in the one moment when he screams over Jenny. Because it’s so fast, you can’t quite process exactly what it is. You can tell something is very wrong, but you can’t quite tell what it is. The choice to play their scene with Tom essentially in silhouette was very much designed from the idea that what you don’t see is going to be scarier, and there’s a subjectivity to the storytelling in that moment, because she’s trying to see him as we’re trying to see him. I’m kind of tying her experience to the audience’s experience and hopefully it makes you lean in a little more to wondering what it looks like.

How will you deal with Nick Morton having powers of life and death? From a storytelling perspective, it’s tough to have a hero who can bring people back from the dead, so do you see him as becoming more of an antihero?

You are always looking for a way to articulate the big idea of the movie in character terms. This is the story of a monster of a human being, who has to be a monster in order to find his humanity. That was a cool organizing principle. Now he is, of course, filled with light and darkness. Those two elements are going to pull at him. Who knows what his monsterness will evolve into over the course of the next film? We have a lot of ideas about that. … They live in a gray area, not just the monsters, but the characters who inhabit their world inhabit a gray area, and I look forward to seeing how Nick’s struggle evolves, because he now understands the best version of himself, and yet, he’s going to have a literal devil inside of him. How are those two things going to work together?

Is it possible Nick show up in these other movies, before a potential Mummy 2 ?

It’s entirely possible.

For more from Kurtzman , read part one of Heat Vision ‘s interview with him here .

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Review: ‘The Mummy,’ With Tom Cruise, Deserves a Quick Burial

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By A.O. Scott

• June 7, 2017

You’ve no doubt been told that if you can’t say something nice, you shouldn’t say anything at all. If I followed that rule, I’d be unemployed. But still. There’s no great joy in accentuating the negative. So I will say this in favor of “The Mummy”: It is 110 minutes long. That is about 20 minutes shorter than “Pirates of the Caribbean: Dead Men Tell No Tales,” about which I had some unkind things to say a couple of weeks ago. Simple math will tell you how much better this movie is than that one. If you have no choice but to see it — a circumstance I have trouble imagining — you can start in on your drinking that much sooner.

“The Mummy” begins with a supposed Egyptian proverb to the effect that “we” never really die; “we” assume new forms and keep right on living. I’m not an Egyptologist, but it seems just as likely that those words were lifted from a movie-studio strategy memo. Universal, lacking a mighty superhero franchise, has gone into its intellectual-property files, which are full of venerable monsters, and created a commercial agglomeration it calls the Dark Universe . “The Mummy” is the first of a slew — a swarm? a pestilence? — of features reviving those old creatures, including the one from the Black Lagoon. We can also look forward to new visits from Frankenstein’s monster and his bride, the Wolf Man and the Invisible Man, among others.

It sounds like fun. The “Mummy” reboot from 1999 , directed by Stephen Sommers and starring Brendan Fraser, was kind of fun. Monster movies frequently are. This one, directed by Alex Kurtzman and starring Tom Cruise, is an unholy mess. Mr. Cruise plays Nick Morton, a jaunty military daredevil with a sideline in antiquities theft and a nutty sidekick (Jake Johnson). When a caper goes wrong, the two call in an airstrike on an Iraqi village — I guess that’s something people are doing for kicks nowadays — and a mysterious tomb is unearthed. Luckily, an archaeologist, Dr. Jenny Halsey (Annabelle Wallis), is on hand to explain what it’s all about and also to affirm Nick’s heterosexuality.

Long story short: An ancient evil has been unleashed upon the world. Its agent is a long-buried pharaoh’s daughter, Ahmanet (Sofia Boutella), who is covered with mysterious tattoos and convinced that Nick is her secret lover, or the god of death, or both. She gets inside his head, which is awkward both because he’s kind of sweet on Jenny and because it’s such an empty place. Ahmanet also has a retinue of zombielike minions at her disposal, who rampage through England on their way to a meeting with Russell Crowe.

Mr. Crowe plays another fixture in the Dark Universe, a label that strikes me as a bit of an exaggeration. Dim Universe would be more accurate, with respect both to the murky, ugly images and to the intellectual capacities of the script, written and conceived by a bunch of people who are capable of better. The old black-and-white Universal horror movies were a mixed bag, but they had some imagination. They could be creepy or campy, weird or lyrical. “The Mummy” gestures — or flails — in a number of directions but settles into the dreary 21st-century action-blockbuster template. There’s chasing and fighting, punctuated by bouts of breathless explaining and a few one-liners that an archaeologist of the future might tentatively decode as jokes.

There is a vague notion that Nick is struggling with dueling impulses toward good and evil, acting out his version of the Jekyll-Hyde predicament. A more interesting movie might have involved a similar struggle within Ahmanet, but a more interesting movie was not on anybody’s mind.

It will be argued that this one was made not for the critics but for the fans. Which is no doubt true. Every con game is played with suckers in mind.

The Mummy Rated PG-13. There’s a naked Egyptian in there somewhere. Running time: 1 hour 50 minutes.

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The Mummy review – Tom Cruise returns in poorly bandaged corpse reviver

Framed as more of a superhero origin movie than ancient curse mystery, a messy plot unravels fast

B e afraid, for here it is … again … emerging waxily from the darkness. This disturbing figure must surely be thousands of years old by now, a princeling worshipped as a god but entombed in his own riches and status; remarkably well preserved. It is Tom Cruise, who is back to launch a big summer reboot of The Mummy, that classic chiller about the revived corpse from ancient Egypt, from which the tomb door was last prised off in a trilogy of films between 1999 and 2008 with the lantern-jawed and rather forgotten Brendan Fraser in the lead. And before that, of course, there were classic versions with Boris Karloff and Christopher Lee both variously getting the all-over St John Ambulance treatment.

Traditionally, The Mummy is a scary movie (though unserious) about taboo and transgression, based on the made-up pop myth about the mummy’s “curse” – which has no basis in the history of ancient Egypt, but is a cheeky colonialist invention, which recasts local objection to our tomb-looting as something supernatural, malign and irrational.

Yet that is not what this Mummy is about. It brings in the usual element of sub-Spielberg gung-ho capers, but essentially sees The Mummy as a superhero origin movie; or possibly supervillain; or Batmanishly both. The supporting characters are clearly there to be brought back as superhero-repertory characters for any putative Mummy franchise, including one who may well be inspired by Two-Face from The Dark Knight.

This has some nice moments but is basically a mess, with various borrowings, including some mummified bits from An American Werewolf in London. The plot sags like an aeon-old decaying limb: a jumble of ideas and scenes from what look like different screenplay drafts. There are two separate ancient “tomb-sites” which have to be busted open: one in London and one in Iraq. (The London one, on the site of the Crossrail excavation, contains the remains of medieval knights identified as “crusaders” who have in their dead Brit mitts various strategically important jewels they have taken from Egyptians: who were subsequently buried in what is now Iraq. Erm, Egyptians in Iraq? Go figure. Perhaps it’s because they are evil and had to be taken out of the country, like CIA rendition of terror suspects.)

The Cruisemeister himself is left high and dry by plot lurches that trigger his boggle-eyed, WTF expression. In one scene, he is nude so we can see what undeniably great shape he’s in. The flabby, shapeless film itself doesn’t have his muscle-tone.

Cruise plays Nick Morton, an adorable rascal in the Iraqi warzone who goes around in a TE Lawrence headdress stealing antiquities to sell; well, it’s that or let them be destroyed. He’s helped by his exasperated buddy Chris (Jake Johnson), while Nick has already seduced beautiful expert Jenny Halsey (Annabelle Wallis) who in spite of herself is entranced by Nick’s distinctive cherubic handsomeness. Then they blunder across the extraordinary tomb of evil Egyptian sorceress Ahmanet (Sofia Boutella) who has some kind of weirdo mind-meld experience with Nick. Her creepy spirit accompanies him back home where she is intent on getting that precious jewel to unlock her full power. Nick’s plane crashes, giving him the opportunity for some Mission: Impossible-type midair acrobatics, those gorgeous chops pulling some serious Gs.

Russell Crowe lumbers on at one stage, amply filling a three-piece suit, playing an archaeological expert and connoisseur of secret burial sites, who has some sinister connection with government agencies. Unlike Nick, he has no Indiana Jones-type heroism, and that formal attire of his signals that he does not have Nick’s kind of heroic looseness. He is a figure to be mistrusted, although when he reveals his name and his destiny, he is just a distraction – and silly.

In the end, having encouraged us to cheer for Tom Cruise as an all-around hero , the film tries to have it both ways and confer upon him some of the sepulchral glamour of evil, and he almost has something Lestat -ish or vampiric about him. Yet the film really won’t make up its mind. It’s a ragbag of action scenes which needed to be bandaged more tightly.

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Though safely entombed in a crypt deep beneath the unforgiving desert, an ancient queen whose destiny was unjustly taken from her is awakened in our current day, bringing with her malevolence grown over millennia, and terrors that defy human comprehension.

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Inside ‘The Mummy’s’ Troubles: Tom Cruise Had Excessive Control (EXCLUSIVE)

There were few signs that a major blockbuster was about to premiere when “ The Mummy ” rolled into Manhattan last week. The marquee of the AMC Loews Lincoln Square Theatres had gone blank. The carpet was totally covered with black plastic. Security only let guests past barricades after quizzing them about what they were there to see, and everybody had to walk through two imposing metal detectors.

Inside the theater, Tom Cruise was jubilant, as he stood in front of the crowd. “Hey y’all,” said the 54-year-old actor. He introduced Alex Kurtzman , the film’s director, as well as the cast members, who stood quietly as Cruise delivered a 10-minute improvised speech. “Movies aren’t made by single people,” he said. “It’s a team effort.”

But in the case of “The Mummy,” one person–Cruise–had an excessive amount of control, according to several people interviewed. The reboot of “The Mummy” was supposed to be the start of a mega-franchise for Universal Pictures. But instead, it’s become a textbook case of a movie star run amok.

As Hollywood is playing the blame game on what went wrong on “The Mummy,” which had a measly domestic opening of just $32 million, many fingers are pointing to Cruise. In the same way that he commanded the stage at the film’s premiere, leaving his cast standing awkwardly by his side, several sources close to the production say that Cruise exerted nearly complete creative oversight on “The Mummy,” essentially wearing all the hats and dictating even the smallest decisions on the set. On stage, Cruise admitted his own perfectionist tendencies. “I don’t just make a movie. I give it everything I have and I expect it from everyone also.”

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Universal, according to sources familiar with the matter, contractually guaranteed Cruise control of most aspects of the project, from script approval to post-production decisions. He also had a great deal of input on the film’s marketing and release strategy, these sources said, advocating for a June debut in a prime summer period.

With terrible reviews, “The Mummy,” which insiders say cost as much as $190 million to make and more than $100 million more to market and release worldwide, may struggle to make its money back. The film is performing much stronger overseas, where it was Cruise’s biggest international rollout with a $142 million opening weekend. It’s not clear if the movie will break even, and it’s cast a shadow on the studio’s plans for a Dark Universe franchise that’s supposed to feature A-list stars like Johnny Depp (as “The Invisible Man”) and Angelina Jolie (in negotiations for “The Bride of Frankenstein”).

A representative for Cruise didn’t respond to a request for comment. In a statement, Universal refuted that Cruise had a negative influence on the production.

“Tom approaches every project with a level of commitment and dedication that is unmatched by most working in our business today,” the statement read. “He has been a true partner and creative collaborator, and his goal with any project he works on is to provide audiences with a truly cinematic moviegoing experience.”

Cruise’s controlling behavior comes as Hollywood’s star system is in tatters. In the 1990s and early aughts, studios shelled out big money for the likes of Mel Gibson, Julia Roberts, and Harrison Ford, confident that their names above the title could guarantee ticket sales. In exchange they were offered big perks, hefty salaries, and a sizable share of the profits. Along with the money came the power to veto key decisions. But as comic book movies and special effects-heavy productions took over, top actors found themselves in less demand and with less influence. Cruise has navigated the new landscape better than some–the “Mission: Impossible” franchise still makes money but other efforts such as “Oblivion” have disappointed. Going forward, he may have difficulty exerting the same kind of sway over other films.

It may be the last hurrah for big movie stars, but on the set of “The Mummy,” Cruise acted like the top gun he once was, calling all the shots. Kurtzman had been in the running to direct the project before Cruise signed on, but the actor gave his blessing for the filmmaker to slide behind the camera. They’d established a comfort level when Kurtzman worked as the screenwriter of “Mission: Impossible III.”

In the wake of “The Mummy’s” failure, the decision to tap such an untested director on a sprawling action-adventure seems to have been foolhardy. Kurtzman wouldn’t necessarily rank high on a studio’s wish list for a project this big, given that he’s a producer and writer who only helmed one small feature that debuted to mixed reviews (2012’s Chris Pine drama “People Like Us”). As Kurtzman struggled to adjust to scope of the project, it felt more like Cruise was the real director, often dictating the major action sequences and micro-managing the production, according to sources.

There were other ways that “The Mummy” was transformed from a scary summer popcorn movie into a standard-issue Tom Cruise vehicle. The actor personally commissioned two other writers along with McQuarrie to crank out a new script. Two of the film’s three credited screenwriters, McQuarrie and Dylan Kussman, an actor-writer who played small roles in “The Mummy” and “Jack Reacher,” were close allies of Cruise’s. The script envisioned Nick Morton as an earnest Tom Cruise archetype, who is laughably described as a “young man” at one point.

His writers beefed up his part. In the original script, Morton and the Mummy (played by Sofia Boutella) had nearly equal screen time. The writers also added a twist that saw Cruise’s character become possessed, to give him more of a dramatic arc. Even though Universal executives weren’t thrilled about the story — which feels disjointed and includes Russell Crowe as Dr. Jekyll — they went along with Cruise’s vision.

And the crew fell in line too, behind Cruise as the boss. “This is very much a film of two halves: before Tom and after Tom,” said Frank Walsh, the supervising art director, at a London screening of “The Mummy” this week. “I have heard the stories about how he drives everything and pushes and pushes, but it was amazing to work with him. The guy is a great filmmaker and knows his craft. He will walk onto a set and tell the director what to do, say ‘that’s not the right lens,’ ask about the sets, and as long as you don’t fluff what you’re saying to him … he’s easy to work for.”

Once the film was done, Cruise brought in his longtime editor Andrew Mondshein to piece together the final picture. (The film’s credits also list Gina and Paul Hirsch as editors.) He spent time in the editing suite overseeing the cutting, which everybody agreed wasn’t working. On the lot, there were differences of opinions about whether Cruise’s directions were improving a picture that had been troubled from its inception or whether they were turning a horror film into a Cruise infomercial. Some believed that Cruise had no choice but to assert himself. Given Kurtzman’s inexperience directing tentpoles, Cruise, who has carried heavily choreographed action movies all his life, had to try to rally the troops or risk having the production fall behind schedule.

Universal knew that if it wanted “The Mummy” to compete against the likes of “Wonder Woman” and “Guardians of the Galaxy Vol. 2” it needed every ounce of Cruise’s waning star power. As the studio scrambled to deal with weak tracking, it released a portrait in late May of Cruise with other actors from the Dark Universe franchise, including Depp and Javier Bardem (who will play Frankenstein). Yet the studio couldn’t even assemble all the actors in the room at the same time, and the image had to be Photoshopped. The Internet reaction to the last-ditch marketing effort was tepid at best. It was another reminder that the big names that once ruled Hollywood are inspiring a lot less love from audiences.

The reviews may have been brutal, but at the premiere Cruise seemed pleased, complimenting everyone involved and portraying the finished film as a team effort. “Jake! Jake!” he shouted at one of his co-stars Jake Johnson. “It was awesome working with you, Jake!”

Justin Kroll and Stewart Clarke contributed to this story.

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10 Valid Reasons Fans Didn’t Like 2017’s The Mummy Remake

The 2017 Tom Cruise film, The Mummy, was panned by critics, but fans have some legitimate beefs with the reboot as well

Released in 1999, The Mummy , starring Brendan Fraser, found the right mix of action, danger, and humor to be one of the most entertaining monster movie remakes ever. After two sequels, there was a fourth movie planned, but Universal Pictures canceled it to focus on a reboot. That movie ended up being the 2017 Tom Cruise Dark Universe The Mummy , which was panned across the board and hated by fans.

With a budget of $195 million and a box office take of $410 million, the 2017 film technically made money but was still considered a failure by the studio. The reason is quite simple and that's because it was dreadful from the story to the execution. As the Brendan Fraser remake is being re-released to celebrate its 25th anniversary , fans can relive a truly fun movie, while confirming their valid dislike for the Tom Cruise reboot.

10 The Mummy Story Was Preposterous

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• The Mummy story was conceived by Jon Spaihts, Alex Kurtzman, and Jenny Lumet
• The screenplay was written by David Koepp, Christopher McQuarrie, and Dylan Kussman

For the 2017 The Mummy reboot, any number of previous Mummy film stories could have been recycled with an update, and it would have been fine. Even a new plot would have worked if it at least had the basic elements of a Mummy story. This movie, however, was far away from a classic tale and so far-fetched that it lost the audience in the first act.

People have no problem believing that a 5,000-year-old Mummy could come back to life and run amok, but the reboot had such an absurd premise that it lost the temporary suspension of disbelief. Everything from the Mummy's unlikely tomb in Iraq to the impossible set of circumstances that led to its discovery had fans disbelieving all the events of the film.

9 There Was A Distinct Lack Of Egypt In A Mummy Movie

• The Mummy was filmed at Pinewood Studios and Shepperton Studios in England
• Location shooting was in Oxford, London, and Namibia

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Making a movie about an Egyptian mummy should, at the very least, have something to do with Egypt, but the 2017 reboot avoided the country altogether. The tomb of Ahmanet, the mummy, was located in Iraq, 1,000 miles from Egypt, and then everything shifted to London, England. The only time audiences get to see Egypt is at the end when the heroes go there to set up a sequel that is never going to happen.

It is possible, and sometimes even important, to update a classic monster tale with a contemporary setting. Dracula can be in New Orleans, like in Renfield , without seeming out of place, and Godzilla can crush San Francisco as he did in the 2014 remake, with no cause for concern. A mummy movie, on the other hand, deals with ancient Egyptian history and mythology, so it must take place, or at least originate, in Egypt.

8 None Of The Characters Were Particularly Likable

• The Mummy starred Tom Cruise, Annabelle Wallis, Jake Johnson, and Sofia Boutella
• Courtney B. Vance, Russell Crowe, Marwan Kenzari, and Javier Botet had supporting roles

Chances are that if a movie has a poorly-written script, it will also have weak characters and The Mummy didn't beat those odds. From heroes to villains, every character in the 2017 movie was flat, lacking any kind of interesting aspects or dynamics. Even worse, these one-dimensional characters were all forced and fairly annoying, making for an overall cast that was hard to like.

Tom Cruise, as the protagonist Nick Morton, was supposed to be a gallant, heroic type, but came off as arrogant and reckless, which made him hard to root for. This was a struggle that persisted throughout the movie, not just with Cruise's character, but with the entire cast. Fans just couldn't connect with them. This created a situation in which there was no real peril because the audience didn't care if anyone got hurt or died.

7 The Mummy Tried To Be Too Many Things

• The Mummy was directed by Alex Kurtzman
• Kurtzman's only other film directing credit is the 2012 drama People Like Us

The 2017 reboot tried to be an action flick, a buddy comedy, and a horror film simultaneously and failed in every regard. As an action movie, it came off like Mission Impossible with a mummy, which is as unappealing as it sounds. The humor was embarrassingly bad, and the horror elements were weak. It's not that it is impossible to blend these genres, but The Mummy couldn't find a way.

The 1999 Brendan Fraser remake found the perfect balance of adventure, laughs, and scares and so did the 2004 Hugh Jackman action horror Van Helsing . Those two movies, however, had good scripts, engaging stories, and likable characters, which made combining styles easy and seamless. The 2017 movie could have worked if it was good at something, but it was bad at everything.

6 The Mummy Wasn't Scary

• The Mummy was distributed by Universal Pictures
• It was released on June 9, 2017 worldwide

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The Mummy was a horror movie without scares, but the title character was also far from terrifying. Sofia Boutella, who was great in Kingsman: The Secret Service , Atomic Blonde, and Rebel Moon was not a very frightening mummy, though probably not her fault. The story, direction, and design conspired to make a mummy that didn't deliver the chills.

Even though the 1999 remake was a light-hearted family-friendly movie, Arnold Vosloo as Imhotep was sufficiently scary. In the original 1932 film, Borris Karloff as Imhotep, induced panic, and even the absurd mummy from Bubba Hotep was a little freaky. Rule number one for a horror movie is to have a scary antagonist, but the 2017 reboot chose to ignore that.

5 It Insulted The Audience's Intelligence

• The Mummy earned $410 million at the box office
• Only $80.2 of that take was from the U.S. market

One of the biggest turnoffs in the 2017 reboot was the complete disregard for the audience's intelligence by including downright stupid things. It started in the beginning when Nick and Chris called in an airstrike that took less than a minute to arrive and then just so happened to open up a hole into an ancient Egyptian tomb in the middle of Iraq. Then, as insurgents are closing in, U.S. soldiers, fighting a war, fly directly to England.

The plane crashes, but Tom Cruise's character survives without a scratch because Ahmanet has a mummy crush on him, with no explanation for how he became supernaturally enabled. Hours after a U.S. military plane crashed in London, only two British police officers were sent to investigate, and much of the wreckage was still on fire. The inherent dumbness of the movie underestimated the intelligence of the audience.

4 It Was A Mockery Of The Genre

• The original The Mummy came out in 1932
• Universal has made 10 mummy movies and 5 Scorpion King spin-offs

Successful remakes have an affinity for the source material and great horrors respect the genre, but the 2017 reboot had nothing but disdain for all of that. It essentially thumbed its nose at the Mummy legacy, which, if it had been a spoof or parody would have worked, but because it was trying to be a serious movie, it came off as mockery. The movie had an undeserved sense of self-importance that was irksome to fans.

It was also lazy and derivative, stealing ideas from other films and executing them poorly. The biggest example of this is the character Chris, who dies and comes back as a wise-cracking disfigured ghost who warns Nick that he has been cursed. That had already been done in An American Werewolf in London and with way more entertainment value.

3 Tom Cruise Was Wrong For This Movie

• Tom Cruise has starred in 45 movies
• Only 2 of those movies were horror-related

Tom Cruise usually plays a hotshot who doesn't play by the rules but gets results in almost every movie, which is fine for Top Gun or Days of Thunder . In a horror movie, on the other hand, it's quite distracting, and actually, that's what his presence in this movie was. Cruise is one of the biggest movie stars in the world , and casting him in The Mummy drew all the attention away from the story, as flawed as it was.

Much in the same way that Cruise sucked all the creepy eroticism out of Lestat in An Interview with a Vampire , his mega-star status drained any horror credibility the film might have had. In all fairness, there isn't an actor alive who could have stepped into this role and made the film any better, because the story, character, and dialog were so profoundly bad, but Cruise certainly didn't help things.

2 It Killed Any Hope For The Dark Universe

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• The first attempt at the dark Universe was Dracula Untold in 2014
• At least 7 movies were canceled when the Dark Universe died

In theory, a shared universe of films with the classic Universal Monsters is very appealing. While the studio had floundered in launching the Dark Universe, there was hope among fans that they'd eventually get it right and create something deviously entertaining. All of those hopes were crushed with the lackluster 2017 The Mummy reboot, which effectively killed off the Dark Universe.

There was an entire slate of potentially interesting moves lined up, including Angelina Jolie as the Bride of Frankenstein , Johnny Depp as The Invisible Man , and Channing Tatum as Van Helsing. This horror franchise was ready to go, but then The Mummy ended up being such a stinker that Universal canceled the whole thing.

1 It Was Utterly Forgettable

• The Mummy was nominated for 8 Golden Raspberry Awards
• Under-performing again, it only won one

The worst thing a work of art can do is to elicit indifference. Love it or hate it, a great work of art conjures emotions and strong feelings for or against it. The ultimate failure of the 2017 reboot is that it didn't leave a lasting impression on the audience. There were no stand-out scenes or performances, it didn't permeate popular culture, nor did it build a dedicated fan base.

Most people who saw the movie would be hard-pressed to recall anything that happened in it because it left no lasting impression. The movie was bad, but it wasn't so awful that it became a cult hit, which would have been redeeming for it. Rather, it was 110 minutes of group-think, corporate movie-making that was unimportant and completely forgettable.

An ancient Egyptian princess is awakened from her crypt beneath the desert, bringing with her malevolence grown over millennia and terrors that defy human comprehension.

Who is Netflix's 'Rebel Moon' star? Former Madonna dancer Sofia Boutella takes the cape

LOS ANGELES − We've seen Sofia Boutella battle onscreen before.

Boutella, 41, was unrecognizable as Jaylah in 2016's "Star Trek Beyond" and mummified Princess Ahmanet in 2017's "The Mummy" (in which she famously licked Tom Cruise's face during a fight scene). The Algerian actress and dancer was killed off playing an acrobatic assassin in 2014's "Kingsmen: The Secret Service" and as a French agent in 2017's "Atomic Blonde."

But in "Rebel Moon - Part One: A Child of Fire" (streaming Thursday, 10 p.m. EST/7 PST, on Netflix ) and franchise follow-up "Rebel Moon – Part Two: The Scargiver" (April 19 on Netflix), Boutella is the center of Zack Snyder 's sci-fi movie universe.

"This is my first leading role − it's exciting and intimidating," Boutella tells USA TODAY during an interview at the Four Seasons Hotel, where the 5-foot-5 actress expressed trepidation about donning Kora's dramatic cloak. "I had to wonder if I'd be swallowed up. It was like, 'How am I going to wear the cape and not let it wear me?' That's an intense responsibility."

Here's how Boutella mastered "Rebel Moon":

Where is 'Rebel Moon' star Sofia Boutella from?

After initial auditions, Boutella wrote a letter to Snyder saying she felt an instant connection to the character Kora. As the "Child of Fire" title suggests, a young Kora is taken from her home by the destructive Imperium army and eventually escapes to the farming planet of Veldt.

Boutella's family was forced to flee her native Algeria during the Algerian Civil War when she was 10, moving to France. Different circumstances, but the same emotional tear.

"When you are uprooted at such a young age, especially for political reasons, that sense of belonging to one place disappears," says Boutella. "Kora is an outsider. I have always felt like an outsider, too."

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Dancing with Madonna on tour helped Sofia Boutella's action moves

Boutella has always known how to move. With classical dance training that began at age 5, Boutella learned hip-hop and street dancing in France and performed on the French rhythmic gymnastics national team at 18.

Before her movie break, Boutella danced in Michael Jackson's 2011 "Hollywood Tonight" video and was a backup dancer for Madonna for 10 years including the 2006 Confessions tour. She credits Madonna for opening her mind and enhancing her skills with dance theatrics.

"Madonna not only gave me my first hula hoop but got me a teacher to learn how to use the hula hoop. Double Dutch jump roping, roller skating, I had never even done those things before," says Boutella. "I was getting paid to learn new things that I loved. And learning new skills highly prepared me for this job."

Boutella has stayed tight with Madonna and caught the pop icon's Celebration tour earlier this month in London with her "Rebel Moon" co-star Charlie Hunnam. There wasn't time to hang out.

"Her tour life is too regimented and we were working. But I did push Charlie onstage at one point," says Boutella of Hunnam's Madonna concert cameo. "He loved it, we had a great time."

From Tom Cruise's 'The Mummy' to 'Rebel Moon,' Sofia Boutella is all action

The actress has performed intricate fight scenes with the best, naturally including "The Mummy" star Cruise. "I learned so much from Tom," says Boutella. "The more I learned, the more I realized how much more I had to learn."

The "Rebel Moon" action is central as Kora sparks a growing Imperium resistance, recruiting warriors such as Nemesis (Bae Doona), General Titus (Djimon Hounsou) and a rogue pilot Kai (Hunnam) to the cause. Snyder says Boutella's stunt and dance background "opened up so many doors for us action-wise" with choreography built into the complicated routines.

Boutella started training with the stunt team weeks before the 153-day "Rebel Moon" shoot. Still, the actress had only two hours of rehearsal to map out the complicated moves for a pivotal barn melee. The quick work included devising Kora's rad in-hand axe twirl (seen in the trailer) .

"I did (the move), and it was like, 'That looked cool. Let's use it,' " says Boutella. "When you have precious short time (that's) when my dance skills come into play. I can learn fast, especially under pressure."

'Rebel Moon': First look at Zack Snyder's new Netflix movie starring Sofia Boutella

The lead actress did have a stunt double who performed two key tasks: taking a rough tumble ("I do not know how to fall") and falling off a ledge to grab a rope during the battle sequence. ("I couldn't learn it, too technical").

But Snyder says "we rely on Sofia 100%" to anchor the franchise and the stunts in both installments of "Rebel Moon," already filmed. Kora is the "Scargiver" name-checked in the second movie title. There is potential for more movie installments in the future, which haven't been officially greenlit by Netflix.

Kora's fight scenes will be even more intense in a director's cut of "Rebel Moon" planned for a summer release that will add an hour to the first installment's 2-hour and 15-minute runtime.

"It's a rated R version, so it's going to be way more vicious," Boutella says.

Boutella even mastered the cape, befitting a character who is also "the most wanted fugitive in the known universe."

Shooting a scene where Kora steps off Kai's spaceship with purpose, Boutella was inspired watching the slow-motion playbacks on the set monitors. She decided to step up her cape game.

"So the next time we did the scene, I took a turn and I whipped the cape around me, tied it back, and kept walking," says Boutella.

Snyder uses the cinematic cape flourish to end the "Rebel Moon" trailer.

"I realized that is where the cape lives. It was such a cool scene, especially in slow motion," says Boutella, who was no longer daunted. "I realized it couldn't let it be a prop, I needed to give the cape life."

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‘rebel moon’: why does kora in zack snyder’s netflix films look so familiar.

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Kora (Sofia Boutella) in a scene from "Rebel Moon - Part Two: The Scargiver."

Zack Snyder’s space fantasy Rebel Moon is back for a second round with Rebel Moon – Part 2: The Scargiver .

The film is new on Netflix NFLX Friday. Among the familiar faces in the film is the warrior leader Kora, who leads the band of warriors in their fight against evil in Rebel Moon – Part One: A Child of Fire . If she looks familiar, it’s because the performer has appeared in several high-profile projects over the years.

Kora is played by Sofia Boutella, whose breakthrough role came in the 2014 movie hit Kingsman: The Secret Service . In director Matthew Vaughn’s spy adventure, Boutella plays Gazelle — a deadly personal assistant to billionaire bad guy Richmond Valentine (Samuel L. Jackson).

What makes Gazelle unique is the absence of her lower legs, which have been replaced by blades. Essentially, Gazelle looks like a female version of the infamous “blade runner” Olympic athlete Oscar Pistorius, who was released on parole from prison in January more than 10 years after killing his girlfriend Reeva Steenkamp.

Kingsman: The Secret Service wasn’t the only time Boutella played a force to be reckoned with. After appearing in makeup to play Jaylah, an alien adversary of the crew of Starship Enterprise in director Justin Lin’s hit 2016 Star Trek Beyond , Boutella starred opposite Charlize Theron in director David Leitch’s 2017 hit spy thriller Atomic Blonde .

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In Atomic Blonde, Boutella plays Delphine Lasalle, a French undercover agent who develops an intimate relationship with Theron’s atomic blonde character Lorraine Broughton.

Also in 2017, Boutella teamed with Tom Cruise in what became the first and last film in Universal Studios’ planned Dark Universe of monster movies with The Mummy .

Playing a female version of the title character originated by Boris Karloff in 1932’s The Mummy , Boutella stars as Ahmanet, who is reawakened after centuries when Nick Morton (Cruise) and his crew discover the Egyptian princess’ tomb and inadvertently bring her back to life.

The Mummy’s underwhelming box office take, however, led to the cancellation of Universal’s shared universe of characters harvested from their famed Universal Monsters vault.

NEW YORK, NY - JUNE 06: Actress Sofia Boutella attends "The Mummy" New York fan event at AMC Loews ... [+] Lincoln Square on June 6, 2017 in New York City. (Photo by Jim Spellman/WireImage)

Boutella Got Her Start As A Dancer In Music Videos

Born April 3, 1982, in the Bab El Oued district in Algiers, Algeria, Sofia Boutella’s screen career kicked off in earnest in films or television shows, but as a dancer in several music videos. Among the artists Boutella worked with was Madonna, having appeared in the pop star’s music video for 2005’s Hung Up , 2006’s Sorry and 2009’s Celebration .

In addition, Boutella was billed as the lead dancer in a 2011 music video set to the late Michael Jackson’s song Hollywood Tonight.

Boutella even wears a Jackson-inspired costume, fedora and right-hand glove in the last part of the Hollywood Tonight video, in addition to recreating some familiar dance moves and poses as a tribute to the King of Pop. The next year, Boutella scored a leading role in the dance drama Street Dance 2 .

After The Mummy in 2017, Boutella nabbed a key supporting role as the assassin Nice in the dystopian action thriller Hotel Artemis opposite Jodie Foster, Dave Bautista and Sterling K. Brown.

Before she was cast by Zack Snyder in the lead role of Kora in Netflix’s first Rebel Moon movie in 2023, Boutella appeared in such projects as the Foo Fighters’ music video Shame Shame and the 2022 Netflix streaming anthology series Guillermo del Toro’s Cabinet of Curiosities .

Most recently, Boutella reunited with her Kingsman: The Secret Service director Matthew Vaughn for a supporting role in the spy thriller Argylle opposite Bryce Dallas Howard and Sam Rockwell.

Rebel Moon – Part Two: The Scargiver is now streaming on Netflix.

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Tom Cruise Is Remaking A Wild Clint Eastwood Action Thriller | GIANT FREAKIN ROBOT

A few months ago the trades announced that Tom Cruise signed a strategic partnership with Warner Bros. to develop and produce original and franchise theatricals for Cruise to star in. At the time, what exactly he was planning to develop remained unknown.

Now GIANT FREAKIN ROBOT can exclusively report that one of those movies will be a remake of the 1977 Clint Eastwood action thriller The Gauntlet . Tom Cruise will take over the role originally played by Eastwood in the movie, that of alcoholic Detective Ben Shockley.

The original version of The Gauntlet was also directed by Clint Eastwood, but our source tells us Christopher McQuarrie will direct the Tom Cruise version. Tom Cruise will, of course, produce as part of his new deal with Warners.

McQuarrie has become Tom Cruise's go-to director over the years. He directed Tom Cruise on movies like Jack Reacher , The Mummy , and three Mission: Impossible (soon four) movies. Now Christopher McQuarrie is working with Cruise on The Gauntlet .

This information comes from the same proven source that has broken several other, now confirmed , WB-related stories for us. GIANT FREAKIN ROBOT ‘s editorial policy prohibits me from printing stories submitted by sources without a proven track record.

The Gauntlet is not one of Eastwood's better-known projects. It received mixed to favorable reviews on its release. The story involves a detective ordered to escort a prostitute to a trial, where she's expected to testify against the mob.

As you'd expect, things don't go well, and Detective Shockley ends up under attack and on the run. The movie's filled with some pretty big action set pieces, including high-speed pursuits with helicopters and motorcycles. There's even a road warrior-style chase in a hastily armored bus. It's easy to imagine Tom Cruise turning that into one of his stunt-laden action flicks, only with perhaps a grittier twist than what we've come to expect from him in the Mission: Impossible films.

GIANT FREAKIN ROBOT

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