The Tomatometer rating – based on the published opinions of hundreds of film and television critics – is a trusted measurement of movie and TV programming quality for millions of moviegoers. It represents the percentage of professional critic reviews that are positive for a given film or television show.
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The Tomatometer is 60% or higher.
The Tomatometer is 59% or lower.
Movies and TV shows are Certified Fresh with a steady Tomatometer of 75% or higher after a set amount of reviews (80 for wide-release movies, 40 for limited-release movies, 20 for TV shows), including 5 reviews from Top Critics.
Percentage of users who rate a movie or TV show positively.
The Mummy promises a fantastical world of supernatural beings colliding and collaborating, forgetting that if no one cares about any one of these beings in particular, they're not going to be sold on seeing them together, either.
I was curious enough about Universal's decision to exhume its classic monsters to hold on until the zombie crusader frogmen started swimming after amoral (but maybe-redeemable) soldier of fortune Tom Cruise. No one would blame you for checking out sooner.
The movie itself is rather like the Hollywood mummies of old: There it walks, lurching from side to side on rigid legs, deadly in its intent but uncertain of the right path, trailing bandages as it goes.
Kurtzman does a decent job with the film's tone, keeping it light and humorous, but the only thing at stake seems to be the future of the Dark Universe, which means more to Universal's bottom line than it does to modern audiences.
How fitting that the makers of this action-adventure movie about tomb raiders plunder the Universal Pictures vault, from the 1932 and 1999 versions of The Mummy to An American Werewolf in London and the Abbott and Costello monster fests.
Though occasionally enlivened by Cruise's willingness to endure a nonstop gauntlet of humiliation, this is a modern blockbuster in many of the worst ways; it's noisy but rarely exciting, heavy on whizzing and whirling special effects but light on wonder.
Falls apart at the end, rattling its bones through a series of shockingly violent clashes with Ahmanet. Ultimately, despite her awesome powers, this goddess is reduced to participating in a love triangle with mere mortals. How pedestrian.
Universal is counting on "The Mummy" and its successors to make it a competitor with Disney/Marvel and Warner Bros./DC and their ever-expanding world of comic-book-based characters. Guys, you might want to have a backup plan.
I'm not sure that this aimless, lukewarm, but occasionally rollicking take on The Mummy is how the studio dreamed that its Dark Universe would kick off. But it's just good enough to keep you curious about what comes next.
"The Mummy" is a literal-minded, bumptious monster mash of a movie. It keeps throwing things at you, and the more you learn about the ersatz intricacy of its "universe," the less compelling it becomes.