Aww yeah, son. It’s finally here. All that hype is about to be tested. I love a good action film, and I love a good spy film. Combine the two with a kick-ass female to helm the project, and you’ve got me saying, “Shut up, and take my money!”

The story looks like your typical betrayal-revenge thriller, but the action does look pretty awesome… eh, for the most part. I don’t know, some of the action looks a little too… choreographed. Like once someone throws a punch, it’s like there’s an obvious pause between moves so the actors and stuntmen can get into position for the next attack. The kitchen scene feels particularly heavy in this as well as that hyped up stairway scene, albeit on a smaller scale. But who knows, maybe the finished product is much more streamlined.

Let’s take a look at this on screen talent. Starring, we have the incredible Charlize Theron (THE FATE OF THE FURIOUS [2017], KUBO AND THE TWO STRINGS [2016], and HANCOCK [2008]) and James McAvoy (SPLIT [2017], X-MEN: APOCALYPSE [2016], WANTED [2008], and upcoming films X-MEN: DARK PHOENIX [2018] and M. Night Shyamalan’s Split/Unbreakable crossover, GLASS [2019]). In support, we have John Goodman (VALERIAN [2017], PATRIOTS DAY [2016], RED STATE [2011], and the upcoming TV revival ROSANNE [2018]), Sofia Boutella (THE MUMMY [2017], STAR TREK BEYOND [2016], KINGSMAN: THE SECRET SERVICE [2015], and the upcoming TV film FAHRENHEIT 451, due out… who knows when), Toby Jones (MORGAN [2016], CAPTAIN AMERICA: THE FIRST AVENGER [2011], THE MIST [2007], and upcoming horror film THE SNOWMAN [2017] and JURASSIC WORLD: FALLEN KINGDOM [2018]), Til Schweiger (INGLORIOUS BASTERDS [2009], FAR CRY [2008], and LARA CROFT TOMB RAIDER: THE CRADLE OF LIFE [2003]), and in a bit role, Daniel Bernhardt (LOGAN [2017], THE MATRIX RELOADED [2003], and TV show MORTAL KOMBAT: CONQUEST [1998]).

Now for the talent behind the scenes. Directing, we have David Leitch, a former stuntman who has been a part of countless action films. His career stretches from HITMAN: AGENT 47 (2015), all the way back to Marvel’s BLADE (1998). He’ll be directing the upcoming DEADPOOL 2 (2018). Penning the screenplay is Kurt Johnstad, known for 300: RISE OF AN EMPIRE (2014), ACT OF VALOR (2012), and 300 (2006). And… wait a tick, this movie is based on a graphic novel? Hmm… news to me. Apparently, it was a series titled “The Coldest City.” Anywho, the composer for the score is action film veteran Tyler Bates, known for GUARDIANS OF THE GALAXY VOL. 2 (2017), JOHN WICK (2014), SUPER (2010), and Marvel’s upcoming Netflix show THE PUNISHER [2017]. Last, but not least, the cinematographer is Jonathan Sela, known for TRANSFORMERS: THE LAST KNIGHT (2017), LAW ABIDING CITIZEN (2009), THE MIDNIGHT MEAT TRAIN (2008), and the upcoming DEADPOOL 2.

Overall, yeah, this could be pretty bad-ass, so I’m stoked for this.

This is my honest opinion of: ATOMIC BLONDE


Set during the Cold War in 1989. Lorraine (Charlize Theron) is a British spy and being called in by her superiors for a mission debriefing, detailing her assignment of tracking down a missing list that contains the names of every operative working for British intelligence.


Apologies for the delay in this review’s release. I did actually see it last week, and I had to see this again. Not because it was that good, but because I had a miserable experience watching this the first time. So before I go into the review, I’m going to start with an enraged rant about being on your fucking cell phone in the movies. So if you want to skip that and go right to the review, CTRL-F and type “HPOR”. So here we go.

So I’m watching the movie and during an important exposition scene, this woman behind me starts talking on her phone. Allow me to really describe what I mean by this. Her phone is on SPEAKER, high volume so everyone can hear, and you’d swear to God that this bitch was in the middle of an important business meeting because she’s not even making an attempt to whisper. She’s talking like normal. My favorite part of the entire conversation she’s having with who the fuck cares, at one point, she apologizes. Not to the audience who is being horrendously inconvenienced, mind you, but to the person she’s talking to, as if all the people screaming at her to get off her phone are interrupting their important conversation. It took me a good five, maybe even ten minutes to finally get up and track down an employee at the AMC that I frequent and told them exactly where to find her. By the time I got back in the auditorium, everyone was in an uproar at this bitch, WHO IS STILL ON HER PHONE!!! You know what it finally took for her to hang up? Some dude got up from his seat and got right in her fucking face. Of fucking course, in that specific moment, that’s when the employee comes in, just narrowly missing out on the mayhem.

The experience, for all intents and purposes, was fine afterward, but the sheer amount of inconsideration from this incident is beyond baffling. Fine, a phone goes off, it happens. Like me, I don’t have many people who call me and talk to me, so there’s almost no reason to care about, “Alright, one last thing. Using your phone is distracting. Don’t ruin the movie!” Oversights happen and most people are generally understanding of that. But these people (she was with a companion) literally paid twenty-plus dollars just to watch half the flick and spend ten minutes of the remainder of their time there on a conference call. People, I don’t pay money to see these movies to hear your phone chats. I don’t pay money to see your cell phone screens light up. And to go so far as to talk, whispering or full blown outdoor voices? Are you fucking kidding me? How did FIREFLY’s Shepherd Book put it?


And to everyone else who is as pissed off with this shit as I am… don’t be like me, waiting ten minutes for them to stop without telling the theater staff. I know, maybe you don’t like confrontation, or don’t like missing any part of the movie, but… if you don’t take some sort of action, they won’t stop talking. You’re going to miss out on the movie one way or another. Don’t miss out on more than you, or the rest of the audience that has a set of fucking manners, need to.

(HPOR) Now for the review.

I’ve probably said this before, but spy films can be a hit or miss for me if they’re not comedies. This is because the ones that you’re supposed to take seriously, James Bond, Jason Bourne, they have a tendency to have complicated plots that my brain isn’t calibrated to follow. I eventually tune out the politics, ramifications, and junk in lieu of waiting for the action scenes or attempting to connect with the character relationships, which is always the crux of why I end up liking them. A few one-liners never hurt either. So how does this movie rank among them? It’s good. Not great. I don’t argue the “Kick-ass action,” or “…totally badass,” comments. Hell, I don’t even argue the whole, “We now have our female 007!” comments either. But… yeah, I don’t love this movie.

The smaller issue that I have with this movie is just how drenched in neon colors this movie was. This is personal, obviously, but the very aesthetic of this film is a struggle. If it’s not bright neon colors, it’s pale white and blue. I know, I know, snow and shit, and I don’t know if I could properly explain why it bugs me. But couple that with the 80’s techno music, or whatever it was, it sort of made my eyelids heavy. It succeeds in making itself distinguished among other action-spy films, but it does it in a way that didn’t agree with me. It’s that same sensation that I get when I play a first-person shooter video game; I just get a headache after awhile, which ruins the experience some. Like I said, the majority of viewers likely weren’t bothered by this, but I was.

Another smaller complaint was the lesbian scene. Now before you feminists get your pitchforks and torches, hear me out. Setting my man-brain aside who absolutely adores two attractive women having sex, pure titillation is something I reserve for porn. That’s what it’s for. However, gratuitous sex and nudity in a movie is exploitative and, frankly, annoying. It’s there just for marketing and to get asses in seats. Now, if the story is about sex and relationships, trying to do it in an artistic way, that’s perfectly acceptable. In coming-of-age films, the exploration of sexual awakening, a character who doesn’t believe in monogamy learns to fall in love, that sort of thing, then of course, the sex and nudity is more warranted and understandable. But that’s for those movies. Action films don’t always put that kind of effort into the romantic relationships. The exceptions for me are the Bourne films and the occasional Bond film. I do not believe this film does the relationship between Lorraine and Delphine justice. While both Theron and Boutella are outstanding actresses to be sure, Lorraine and Delphine barely share any screen time together before they bang and I don’t believe the sex was truly organic to the story. It’s certainly a lighter exploitation, mostly because there are good scenes between them later, which I’ll get to, and it’s not over graphic with either the nudity or the physicality, but I feel like for the relationship to carry more weight, more time should have been dedicated to them. Unfortunately, that could have also derailed the film and not kept the story in focus if not done well, but it could have been done. The two ladies could have ran around Berlin solving pieces of the puzzle together, fighting together, it could have worked.

A bigger issue that I also had was, as predicted, some of the fight scenes felt a little too choreographed. Like I said above, the action looks like… punch! Pause. Punch again! Pause, wait for stunt actor to get into place. Punch! Okay, it’s not as bad as I’m making it out, but I feel like I could literally see the actors trying to get back to their marks and waiting for their cue. It more prominent in the kitchen during the apartment fight, and pretty brief in the balcony scene toward the climax, but it’s still there and pretty distracting. Again, this may be something most won’t notice, care about, or agree with me on, but it did feel a touch distracting to me.

The biggest issue I had with the film was how complicated the story was that I could barely follow it. Okay, so a list of all the MI6 agents is now in the hands of the bad guys. We learn that the latest agent killed was a lover or boyfriend of Lorraine’s. We also learn that there’s a traitor within MI6, code named Satchel, whom Lorraine is tasked with finding as well because it’s this person who’s leaked the list to their enemies. I know that these plot point intersect and how they’re related to each other, but… why was Lorraine in that apartment? She says she was looking for clues to Satchel’s identity, but… what was she looking for specifically? We’re not filled in on her plans or strategies, so it just looks like that scene was there to showcase another action sequence. I guess she finds that picture with Percival (James McAvoy) and her dead lover, revealing them to be friends. But that information is never brought up after he admits to it and doesn’t play a further role in anything, so what’s the point? Beyond that, characters seem to take themselves from one location to the other when it feels like it should be as simple as finding the missing Spyglass (Eddie Marsan), who committed the entire list of operatives to memory. It never truly feels like anyone is on point with their objectives. And if I can’t follow the actions and motivations of the characters… it can easily bore me. So yes, outside of the action scenes, the movie is pretty boring and not overly interesting. The pieces are there, but they don’t fit very well.

But before anyone starts thinking that I hate this film, I don’t. So let’s dive into the good aspects.

First and foremost, yes, the action is great. I’ve already mentioned how I felt the action was a little too choreographed, but I do give it some credit that the action is visceral. Dude gets hit in the face with a pot or a freezer door, it really looks like it hurts. Someone gets shot in the stomach, but still attempts to fight, it looks like a real struggle. People getting punched, or thrown around onto wooden furniture or getting whacked with lamps and shit, stabbed in the neck with a cork-screw, the action is undeniably intense and gritty. Especially with all the cuts, bruises, and blood, you feel just as exhausted as the actors do. Hell, especially in the balcony scene, I know if it were me, all battered and beat up, I’d just be like, “You know what, just go. I’m done. Have a good Wednesday.” It’s pretty awesome.

The actors also churn out solid performances and work incredibly well off of each other. Lorraine and Percival are pretty funny and I enjoy their banter. I also liked the connection that Lorraine and Delphine shared. Despite the unnecessary sex, there is a really good scene with the two of them in bed together and they’re talking, Delphine comments that her eyes change when she tells the truth and the dialog goes something like:

Thanks for the warning. Now I know to not do it again.


Because someday it’s going to get me killed.

That’s a really poignant line. It shows that someone can spot a weakness that could potentially be exploited and she now has to compensate for it in order to cover her ass. But more than that, it’s a detail that was told to her by someone that has always tried to be on her side, and wouldn’t exploit her weaknesses. So of course, I love Boutella’s performance as this semi-innocent and inexperienced field agent who is clearly way over her head. But I really liked Delphine as a character and the impact she had on Lorraine.

There’s also a deep level of appreciation for the details. I mean, in that reveal scene with Theron, Lorraine coming out of that ice cold bath tub, every inch of her body covered in bruises and cuts. It really gives you that sense of how bad-ass she is and you feel every bit of that bruising as she does. Except everyone in the audience is a pussy because y’all be squirming in your seats and she’s just all, “Smokin’ my cig, poppin’ my pills, fuck this job, I’m a bad-ass, mother fuckers.” Pretty sure I’d be on the ground crying like my mother if a swarm of spiders were just crawling over her. And boomeranging back to the stairwell scene, I’m pretty sure Theron started that scene without a scratch, but then the bruises and cuts were all over her by the end of it. I’m curious, were those bruises… real? I mean, according to the trivia on IMDb, she cracked two teeth during filming. She really was getting slammed into walls… albeit padded ones, but how far off the mark can I possibly be? Maybe they’re digitally inserted? Either way, it’s fantastic and it’s made to look like it’s all done in one take. I can probably safely assume it wasn’t, but it’s not quite quite easy to spot where the cuts may be.

Fun fact: That tunnel when Lorraine is in the car and beats dudes with her shoe? That’s the same tunnel used in CAPTAIN AMERICA: CIVIL WAR (2016) when Black Panther is chasing down Bucky Barnes. I part of me thought I’d recognized it, but I didn’t think much of it until I read that.

Overall, I can’t say that this is a bad movie. It’s very well done and well-executed, but I just don’t love it, or like it all that much. The visuals literally hurt my eyes and head, so it’s already hard to get enveloped by the film. Bits and pieces of the action don’t look right, and some of the character choices don’t always make sense to me, so I can’t climb on the band wagon that everyone has a ticket for. But there is a real passion behind the project that I can’t deny. To my understanding, this is a passion project of Theron’s and it really shows. It’s hard hitting, beautifully shot, fantastic acting, it’s no wonder why so many like it. I say if you like your action-spy flicks, or enjoy the cast, this is a good one to check out. It’s not a movie that I can personally see a third time, but I acknowledge it’s merits and I recommend it.

My honest rating for ATOMIC BLONDE: a strong 3/5



THE MUMMY review

This is the start of the Dark Universe!

For those of you not in the know, Universal recently decided that they wanted to do their own Avengers/Justice League type cross-over deal, with the Mummy, Dracula, Frankenstein’s monster, the Invisible Man, all those classic horror stories eventually coming together for… whatever reason gets asses in seats. In 2014, back when this plan was made public, the movie DRACULA UNTOLD was supposedly the start of this upcoming franchise. But I guess Universal scrapped that idea and decided to make this the start of it all.

Upon first glance at this movie, I doubt it’s going to be very good, but it looks fairly entertaining enough. I question how exactly the protagonist simply stumbles upon a sinkhole and happens to find the tomb that holds the titular mummy. Other than that, it’ll probably be a dumb but fun movie. I do enjoy some of the cast though.

Speaking of which. Starring, we have Tom Cruise (JACK REACHER: NEVER GO BACK [2016], MISSION: IMPOSSIBLE – ROGUE NATION [2015], ROCK OF AGES [2012], and upcoming films M:I 6 – MISSION IMPOSSIBLE [2018] and TOP GUN: MAVERICK, due out… who knows when) and one of my new favorite actresses, Sofia Boutella (STAR TREK BEYOND [2016], KINGSMAN: THE SECRET SERVICE [2014], and the upcoming ATOMIC BLONDE [2017]). In support, we have Russell Crowe (THE NICE GUYS [2016], THE WATER DIVINER [2015], and MAN OF STEEL [2013]), Annabelle Wallis (KING ARTHUR: LEGEND OF THE SWORD [2017], THE BROTHERS GRIMSBY [2016], and ANNABELLE [2014]), Jake Johnson (SMURFS: THE LOST VILLAGE [2017], JURASSIC WORLD [2015], and TV show NEW GIRL), and Courtney B. Vance (OFFICE CHRISTMAS PARTY [2016], TERMINATOR GENISYS [2015], and TV show AMERICAN CRIME STORY).

Now for the crew. Directing is Alex Kurtzman, known for PEOPLE LIKE US (2012). He’s usually a producer who will also be producing some of the future Dark Universe films. Red flag alert: three writers! Suddenly, I’m concerned. Co-writing the script are David Koepp (INFERNO [2016], WAR OF THE WORLDS [2005], SPIDER-MAN [2002], and upcoming films BRIDE OF FRANKENSTEIN [2019] and the as-of-yet-titled Indiana Jones movie [2020]), Christopher McQuarrie (MISSION: IMPOSSIBLE – ROGUE NATION, JACK REACHER [2012], THE USUAL SUSPECTS [1995], and the upcoming M:I 6 – MISSION IMPOSSIBLE), and Dylan Kussman, who is known for stuff that I’ve never heard of. Three writers… not usually a good sign. Composing the score is Brian Tyler, known for THE FATE OF THE FURIOUS (2017), THE DISAPPOINTMENTS ROOM (2016), and AVENGERS: AGE OF ULTRON (2015). Finally, the cinematographer is Ben Seresin, known for WORLD WAR Z (2013), PAIN & GAIN (2013), and TRANSFORMERS: REVENGE OF THE FALLEN (2009).

Overall, I’m not overly excited for this. Early ratings and reviews seem to paint it negatively. I can’t pretend to be surprised, but it’s Cruise. I can’t imagine this movie being boring. So… I go in with high hopes of entertainment, not the next DARK KNIGHT (2008).

This is my honest opinion of: THE MUMMY


Princess Ahmanet (Sofia Boutella) was destined for the Egyptian throne. But when her father had a son, she killed her family, relying on magic from the God of Death, Set. Eventually set on releasing the god into the mortal world, she was stopped by her people and imprisoned in a tomb far from Egypt for eternity. In the present day, she is unearthed by a soldier of fortune named Nick (Tom Cruise) and unwittingly releases Ahmanet onto the world and must stop her from taking back what she thinks belongs to her.


Yeesh, and we thought the DC movies were in trouble. The movie isn’t very good. In fact, it’s so not good that I agree with the critics that this might rightfully stop this “Dark Universe” from taking off. Yeah, it’s that bad. It’s by no means the worst movie I’ve ever seen, but this franchise shouldn’t happen if more effort isn’t put into them. Not to mention these classic monsters that have rooted themselves so deeply in pop culture for generations deserve so much better than what this movie presents.

Eh, it’s probably best to start with the few things that I do enjoy about the movie. First off, I will never not like the double irises in the eyes. I love that look and even if this movie franchise dies, I hope that look lives on in something better. And while we’re on the subject of double-iris eyes, I really like Sofia Boutella. She is quickly making a name for herself as “the woman in make-up.” If she doesn’t have prosthetic apendages, then she’s completely undercover in some fantastic make-up, making a unanimously popular role in STAR TREK BEYOND. Now, cue that same chick in a role that, on paper, should be a match made in god damn Heaven. The original mummy was a role made famous because of the ground-breaking make-up. Her casting makes a great deal of sense. Even though the make-up is… underwhelming and nearly half the time her mummy character is CG, Boutella still makes it look good and her acting does come through.

In fact, the acting isn’t really the problem… er… except for Russell Crowe, but we’ll get to him in a little while. Cruise has a surprisingly refreshing role that is completely different from what he usually plays. In nearly every action movie, he’s confident, calculating, a tried and true bad-ass with or without a weapon. In this movie, he’s… kind of incompetent. There’s this scene in the beginning where he’s gotten himself and his partner, Chris (Jake Johnson) in a fire-fight with some insurgents and they’re cornered on a roof being shot at on all sides. Chris is panicking and Nick is shouting, “Just let me think!” After a beat or two, Nick cries out, “We’re gonna die!” It’s… surprisingly funny to see him so hopeless. Whereas Jack Reacher, or Ethan Hunt would have had a plan B through Z three times over, this character is kind of idiotic. He spends most of the movie freaking out and being confused, and gets his ass hilariously kicked by Ahmanet later on. As a result, I kind of love it. I don’t think I want to see it again, but as a first off, it was probably more entertaining than it should have been.

Beyond the actors, I do admit to enjoying the twitchy zombies that Ahmanet creates when she sucks the life-force from her victims. I don’t like that they’re CG most of the time, but it’s a fun and even creepy visual. The swarm of crows taking down that plane was also a really fun scene to watch. I don’t know, death by beaks is always a bit of twitch for me. And there’s a scene where Ahmanet hunts down Nick and shatters the glass around her, converting it back into sand, and then we get the iconic and popular sand-face effect.

So… some fun visuals, a refreshing abnormal character for Cruise, and Boutella being the best part of the movie, as seems to be a pattern with her, but… the good qualities come to a dead stop. And I don’t mean a slow petite screeching halt, I mean hit-a-titanium-wall-at-top-speed dead stop.

The first red flag is right before the movie even starts. You know how both Marvel and DC are creating a cinematic universe involving crossovers with the most popular superheroes from their respective comics? You know they’re affectionately called The Marvel Cinematic Universe and The DC Extended Universe? Well… when did any of these movies openly say that in the movies? The correct answer is that they don’t. You know why? They don’t need to be that confident. Well, guess what this movie does? It flashes it’s traditional “Universal” across the planet, but then completely circles around, and in the same shot, a new logo circles Earth and we see “Dark Universe.”



Does this movie honestly think that audiences wouldn’t know that? Even if they don’t, they’ll pick it up when they realize that Doctor Jekyll and Mister Hyde are in the movie. But really, if that was my biggest complaint about the movie, we’d be in a better spot. Sadly, this is not the case.

Nope. We get one of four movies that I saw this weekend that decide that it’s necessary to throw in a narration. I am getting really sick of these things. I know voice overs may be necessary to explain backstories that the movie wouldn’t otherwise showcase, therefore supposedly explaining certain details that would be random and or confusing without context. However, when a movie uses it just to talk over the events already played out, it’s wasted resources. In this opening, we see Ahmanet training to be a fighter and overlooking Egypt with pride, in a manner that she knows she will rule over it all one day. But then the infant prince is born and Ahmanet begins to worship the evil god and goes on a familial killing spree. Then she aims to sacrifice her “chosen” to the evil god and possess him so that he can enter the mortal world. Everything that I just said, it’s all visual and pretty easy to understand. The narration explaining everything that we see is completely unnecessary.

As much as I like Johnson as an actor, he can be really funny even if the movie isn’t, but he is some seriously pointless talent in this movie. His character, Chris, is annoying as hell. At first, it just seems like he’s playing the hysterical cowardly type who has no sense of adventure. It’s been done, but some of his humor comes through okay. And to be fair, when he gets into a fire-fight, he does look natural holding an assault rifle. But once that bit is over, all he does is whine and complain. The worst is when he, Nick, and Jenny (Annabelle Wallis) have already entered Ahmanet’s tomb and they’ve just been attacked by a swarm of camel spiders, leading to Chris getting bit. He starts firing his rifle wildly, already a dumb-ass move because, you know, ricocheting is a thing, and starts freaking out begging to leave. I don’t know, man, if you’re a grown-ass adult and you don’t want to be somewhere, then don’t be there. It really shouldn’t be that hard.

As this happens early on in the movie, so I don’t consider it a spoiler, but Chris dies not long after. That bug bite allowed Ahmanet to possess him and he kills a dude, and then Nick shoots him dead. But his appearance is later relegated to being a comic relief vision in Nick’s head, who is obviously trying to entice Nick to making the choices that Ahmanet would want him to make. These appearances are about as annoying as they sound. Hell, there’s a good stretch of time when Johnson is completely dropped from the film and doesn’t come back until the final twenty-ish minutes.

If it wasn’t bad enough that we have annoying characters, we’re also exposed to characters we don’t care about. Take Wallis’ character, Jenny the archaeologist. Literally, this is her entrance: suddenly appear, slap Cruise, and spend a good five to ten minutes about awesome or not awesome the sex was, and that he stole a map from her. Where do I begin with this? It is so painfully obvious that these two characters are going to do that stupid cliché of hating each other, but the audience knows they’re going to hook up at the end, which they do. You see it coming a thousand miles away and it’s boring. She’s not an interesting character. You never care what happens to her, or the contrived relationship she has with Nick. She’s just the pretty face that Cruise gets to make out with and make him look good. Wasn’t this type of female character supposed to be killed off when SPIDER-MAN 3 (2007) ended and why we never really got another “Mary Jane” character? It’s sad that Wallis had this role because she doesn’t seem like a bad actress. To her credit, she’s not bad in the movie, but she’s got nothing to work with that would leave an impact on audiences.

Beyond the characters, there’s a lot of questionable story and directing choices. Like during that scene with the camel spiders, Nick is exposed to visions of Ahmanet, which clearly freaks him out. Yet, he says nothing to anyone about them and seems perfectly okay with being near Ahmanet’s sarcophagus. If that were me, I’d be up against the wall on the opposite side of the room until I was outside and able to run away like a bitch. You also have dumb characters that see something that any normal person would stay away from and call it in. But these characters do the “Alien” thing by sticking their faces in them to get a closer look and lo and behold, they get axed off. Bleh. And while Ahmanet is quick to dispatch nameless extras, she takes her time killing Jenny when she has the chance because… pudding. I don’t know, but it’s as good as any other explanation this trope offers.

And what’s with the Jekyll and Hyde stuff? Okay, in some ways, this makes sense. I mean, it’s a crossover universe with these classic monsters coming together. Jekyll is this universe’s Nick Fury, which is fine. He illustrates the scale and points the direction in which these movies will go. When it’s just Jekyll, it’s fine. But when he turns into Hyde, it’s literally just fan service. Can’t have Jekyll without Hyde, right? You can, but this movie disagrees with me, especially since his story isn’t the focus. But in addition to that, isn’t Hyde supposed to be a hideous creature? I’ve not been liking these incarnations of Hyde in recent media, like this movie and TV show ONCE UPON A TIME. In every iteration of the character I’ve seen, he’s a violent monster and such. Almost inhuman in appearance. But these movies depict the character as a charismatic and pompous dick who is more or less attractive… or in Crowe’s case, no deviation in look other than a couple warts. Shouldn’t Hyde be a complete transformation in appearance? Even ONCE UPON A TIME got that down.

Overall, it’s not a good film. The story is cut-and-paste, most of the characters range from meh to annoying, it’s littered with senseless sequences and choices, and marinated in tropes. Having said all that, I’d be lying if I said there weren’t a few things that I enjoyed about it. Cruise is a humorously incompetent fighter, and of course, Boutella steals the damn show for me. None of that really makes it a recommendation, however, so I’d say you could skip it. It’s not something that you should run away from, but it’s a rental at best. Even then, that’s a pretty weak suggestion. See it if you want to see Boutella as a homicidal mummy who kicks Cruise’s ass, but don’t expect a good movie between those scenes.

My honest rating for THE MUMMY: a weak 3/5