Two groups of treasure-seeking archeologists awaken the mummy of Imhotep. The creature seeks to resurrect his ancient love by sacrificing a beautiful librarian and only an American adventurer and his comrades can save her and the world.
Quick Review: Blade and The Mummy began a new movement, adventure films masquerading as horror. In each, a classic monster type is given a new veneer. Frights are almost non-existant, but one-liners abound, as do exciting fight scenes, beautiful sets, and big budget FX. Costumes are as important as the plot and it isn’t uncommon for characters to stop to pose. Other films in the movement include Blade II, The Mummy Returns, Resident Evil, Underworld, and Van Helsing. What is surprising is how good several of these films are.
The Mummy, which owes far more to Raiders of the Lost Arc than to its 1932 namesake, works on every level. Brendan Fraser is properly heroic, romantic, and glib. Rachel Weisz displays innocence and sexuality, fulfilling the film’s requirement of a girl to be rescued while also being a modern woman. John Hannah is funny as the sidekick (and how often are sidekicks actually funny?) and the monster is impressive, both as actor Arnold Vosloo and as CGI. The Mummy is spectacle, with impressive art direction, and a dramatic, orientalist score by Jerry Goldsmith. There’s a few questionable plot points, but nothing that interrupts the flow of the film. This is what Saturday afternoon at the movies is all about.