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The Mommy Navigation menu VideoThe Mummy 1999
Eine der Lieblingsserien unseres FILM-Kollegen The Mommy ist The Kinox Tribute Von Panem Mockingjay. - BeschreibungUnsere Chanell wird die Mama sein.
They have to pay off now. Angie Han. The Dark Universe and original monster squad deserve more than this underwhelming film.
Jordy Sirkin. Many of the fight sequences are so chaotic that they conceal the nature of the choreography. Mike Massie. If you want Tom Cruise on autopilot, wait for the Top Gun sequel Paul McGuire Grimes.
Richard Propes. There's no curse about this. It's one of the most uninspiring films of the year. Kelechi Ehenulo. For all of its large scale and bluster, The Mummy's biggest flaw is that it's not fun or exciting enough.
It tries, all right, but something's just not there, that intangible something that sets this kind of movie apart from the pack.
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Let's get your review verified. Rate This. At an archaeological dig in the ancient city of Hamunaptra, an American serving in the French Foreign Legion accidentally awakens a mummy who begins to wreak havoc as he searches for the reincarnation of his long-lost love.
Director: Stephen Sommers. Watch on Prime Video included with Prime. Added to Watchlist. From metacritic. The Rise of Daniel Kaluuya.
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Nominated for 1 Oscar. Edit Cast Cast overview, first billed only: Brendan Fraser Rick O'Connell Rachel Weisz Evelyn Carnahan John Hannah Jonathan Carnahan Arnold Vosloo Imhotep Kevin J.
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Though safely entombed in a crypt deep beneath the unforgiving desert, an ancient princess, 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.
Written by Universal Pictures. This movie is quite enjoyable. I'm not sure why it's getting so many bad reviews.
The action is fast paced and the acting pretty good, plus it avoids most of the major structural pitfalls that plague the monster movie genre.
There were some flaws, which I will mention later, but first the strong points: "The Monster Always Dies". One big structural problem with monster movies is the lack of suspense.
In the end, the monster is always vanquished. Any suspense revolves around the hero discovering the monster's 'fatal weakness' just in time to save the heroine.
In some cases, as with the Mummy remake, the resolution is telegraphed so early and so strongly that you grow board waiting for Brendon Frasier to wade through all the special-effect laden cliff hangers to finally win the day.
This remake handles the problem in a very creative and unexpected way by first making the monster venerable almost from the start and then secondly by introducing another antagonist who turns out to be equally threatening to the hero.
This builds suspense as the protagonist is threatened from multiple sides. Ultimately all this climaxes in a completely unexpected ending that I honestly did not see coming; something really unique for a monster film.
It may, in fact, be this ending that contributes to the negative reviews since strictly speaking it violates the hallowed monster flick formula most people have come to expect.
Another tiring issue with monster films is the obligation to service the inevitable damsel-in-distress theme.
Again, Mummy takes a unique approach by making Tom Cruise and Annabelle Wallis effectively co-equals protagonists. Sometimes she saves him, sometimes he saves her, often with a good deal of humor in the role reversal.
All-in-all a movie worth seeing, but of course there were some flaws. Character development is kept to a minimum; only enough to service the plot line.
This contrasts with the Mummy which excelled in wonderfully interesting characters who, unfortunately, were deployed in the service of a mundane and predictable plot.
Other flaws include under use of Jake Johnston as the comic relief and a serviceable but uninspiring performance by the heroine Wallis. Had she matched the charisma brought by Cruise's performance it would have added a whole new dimension to the movie.
In general, though, I liked it and am interested to see more of the 'Dark Universe'. All Titles TV Episodes Celebs Companies Keywords Advanced Search.
Sign In. Romero was brought in with a vision of a zombie-style horror film similar to Night of the Living Dead , but which also relied heavily upon elements of tragic romance and ambivalence of identity.
Romero completed a draft in October , co-written with Ormsby and Sayles, that revolved around female archaeologist Helen Grover and her discovery of the tomb of Imhotep, an Egyptian general who lived in the time of Ramesses II.
The script progresses to a fish-out-of-water story when Imhotep, having regained his youthful appearance, recognizes the need to adapt to a contemporary society that is three thousand years removed from the one he came from.
Assuming at first that he is a representative from the Bureau of Antiquities, Helen finds herself drawn into a tentative relationship with Imhotep while also experiencing clairvoyant flashbacks to a previous life in the Nineteenth Dynasty of Egypt as a priestess of Isis.
Summoning mystical powers through incantation, Imhotep later resurrects the mummy of Karis, a loyal slave whose body had been resting alongside his master's in the same tomb but is now held in the local museum.
After escaping into the city sewer system, Karis embarks on a vengeful rampage against the various criminal fences and high society antiquarians who had acquired stolen relics from his tomb.
Romero's script was considered too dark and violent by Jacks and the studio, who wanted a more accessible picture. Romero was unable to extricate himself from another contract he had in negotiation with MGM, and so his involvement with the film was severed and the development of an entirely new script was commissioned.
Mick Garris was attached to direct but eventually left the project,  and Wes Craven was offered the film but turned it down.
Finally, Sommers received his window of opportunity and pitched his idea to Universal with an page treatment. Photography moved to the Sahara desert outside the small town of Erfoud , and to the United Kingdom before completion of shooting on August 29, Snakes, spiders and scorpions were a major problem, with many crew members having to be airlifted out after being bitten.
Brendan Fraser nearly died during a scene where his character is hanged. Weisz remembered, "He [Fraser] stopped breathing and had to be resuscitated.
Production designer Allan Cameron found a dormant volcano near Erfoud where the entire set for Hamunaptra could be constructed. Sommers liked the location because, "A city hidden in the crater of an extinct volcano made perfect sense.
Out in the middle of the desert you would never see it. You would never think of entering the crater unless you knew what was inside that volcano.
These sets took 16 weeks to build, and included fiberglass columns rigged with special effects for the movie's final scenes. He said that he wanted the Mummy "to be mean, tough, nasty, something that had never been seen by audiences before".
Berton used motion capture in order to achieve "a menacing and very realistic Mummy". To create the Mummy, Berton used a combination of live action and computer graphics.
He matched the digital prosthetic make-up pieces on Vosloo's face during filming. Berton said, "When you see his film image, that's him.
When he turns his head and half of his face is missing and you can see right through on to his teeth, that's really his face.
And that's why it was so hard to do. A lot of the time I was walking around the set looking like a Christmas tree.
He also designed all of the animatronic effects. While the film made extensive use of computer-generated imagery, many scenes, including ones where Rachel Weisz's character is covered with rats and locusts, were real, using live animals.
The score for The Mummy was composed and conducted by Jerry Goldsmith , with orchestrations provided by Alexander Courage. Like many Goldsmith scores, the main theme uses extensive brass and percussion elements;  Goldsmith also used sparing amounts of vocals, highly unusual for most of his work.
Overall, Goldsmith's score was well received. AllMusic described it as a "grand, melodramatic score" which delivered the expected highlights.
The limited but masterful use of the chorus was also lauded, and most critics found the final track on the CD to be the best overall.
Thankfully […] his favourable work on this release wins out. The Mummy received mixed reviews from critics. The website's critical consensus reads, "It's difficult to make a persuasive argument for The Mummy as any kind of meaningful cinematic achievement, but it's undeniably fun to watch.
Roger Ebert , of the Chicago Sun-Times , gave the film 3 out of 4 stars, writing "There is hardly a thing I can say in its favor, except that I was cheered by nearly every minute of it.
I cannot argue for the script, the direction, the acting or even the mummy, but I can say that I was not bored and sometimes I was unreasonably pleased.
Stephen Holden from The New York Times wrote, "This version of The Mummy has no pretenses to be anything other than a gaudy comic video game splashed onto the screen.
Think Raiders of the Lost Ark with cartoon characters, no coherent story line and lavish but cheesy special effects. Think Night of the Living Dead stripped of genuine horror and restaged as an Egyptian-theme Halloween pageant.