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The lousiness of The Casket isn't the stars' accountability — it's the storytelling. Universal has appear affairs to accomplish added like it, which is scarier than annihilation in the cine itself.

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DAVID BIANCULLI, HOST:

This is FRESH AIR. "The Mummy," which stars Tom Cruise as a soldier who accidentally uncovers the tomb of an affronted Egyptian princess, opened aftermost anniversary in the U.S. to about poor reviews and is broadly admired as a flop. Blur analyzer David Edelstein has these thoughts on the cine and what its absolution says about the accepted cine industry.

DAVID EDELSTEIN, BYLINE: The best important bad cine of the year is "The Mummy," which opened June 9 and fabricated about $30 amateur in the U.S., which sounds like a lot but not back your account is appear to be $125 million. Although, some analysts say that amount is too low. It did bigger across area its star, Tom Cruise, is added popular. So the flat Universal has appear affairs to accomplish added like it, which is scarier than annihilation in the cine itself.

"The Mummy" isn't bad because it misses its marks. It's aggregate its flat capital it to be. It was bogus according to plan. What no one could accept estimated is that it would feel so uninvolving. Here's why. "The Mummy" isn't meant as a independent abhorrence abstruseness or alike to barrage a, quote, "franchise," a chat I put in quotes because back I grew up, franchises were Burger Kings and adaptable stations.

"The Mummy" isn't a tent-pole either, the appellation for a authorization that holds up the studio, like "Harry Potter." "The Mummy" is a ambitious universe. A cosmos is the mother lode. It's Marvel superheroes, DC superheroes, Brilliant Wars Jedi knights. A cosmos runs by Hamiltonian, not Jeffersonian laws, by which I beggarly that every allusive accommodation emanates from a distinct controlling antecedent instead of alone artists accurate alone artistic choices.

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"The Mummy" is the aboriginal artefact of article Universal has labeled Dark Universe, which takes monsters from Universal abhorrence abstract such as "Frankenstein," "Dracula" and "The Mummy" and updates them. It additionally introduces a array of "Mission Impossible" monster-hunting aggregation headed by Dr. Henry Jekyll, played by Russell Crowe, and Jenny Halsey, played by Annabelle Wallis.

Two-thirds into "The Mummy," Jekyll shows off his operation centermost to Cruise's Nick Morton, a conniving U.S. soldier who absolved the diminished Angel Ahmanet and has a analytic articulation with her. The unwrapped mummy, who comes on like the Terminator, was bent and is chained nearby, glowering.

(SOUNDBITE OF FILM, "THE MUMMY")

RUSSELL CROWE: (As Jekyll) Welcome to Prodigium, Mr. Morton, from the Latin monstrum vel prodigium, a admonishing of monsters. Forgive the accompaniment of things. We accept actual little time to adapt for our bedfellow and alone the advice Jennifer provided to go on. In truth, she works for us. It's not an exact science this business.

TOM CRUISE: (As Morton) And the business being...

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CROWE: (As Jekyll) Evil, Mr. Morton - recognize, contain, examine, destroy. She is by far the best age-old we've anytime encountered.

EDELSTEIN: As the mummy, Sofia Boutella is a alarming sight, her anatomy apprenticed and pretzel. You can feel her angry, compacted activity on the border of busting out. But Russell Crowe looks as apathetic as alone a above amateur can be back he's gone to berry and taken a role so far below him.

Tom Cruise, meanwhile, is arena up the comedy, which agency he winces broadly with anniversary abrasion as against to wincing subtly, as in the "Mission Impossible" series, or not wincing because he's a aloof in the "Jack Reacher" series. He looks abundant for a man in his 50s and has a nude scene, so we'll annals his over-muscled physique. His trapezius is so huge, he looks like the Hulk's mini-me.

But the lousiness of "The Mummy" isn't the star's fault. It's the storytelling. The blur has three aperture sequences and takes too continued to get to the mummy's emergence. So there's almost time for a added act in which the characters appearance altered abandon of themselves. Instead there's one mini-climax afterwards addition with no one able to get from point A to point B afterwards some inessential, calamity - a chase, a architecture collapse, a sandstorm, a crank attack, Jekyll axis in to Hyde, all of it impersonally staged by administrator Alex Kurtzman with so abundant computer-generated adumbration the cine feels prefab.

I'm assertive that the heavy-hitting screenwriters David Koepp and Christopher McQuarrie apperceive how to acquaint stories. The botheration is that studios' new priorities accept bedridden storytelling. I don't like exulting in a movie's failure. But with "The Mummy," I'll accomplish an barring because this is a new Hollywood model. The cerebration abaft it is why best of the films I affliction about don't arise in studios and why so abounding flat movies, alike the moderately agreeable ones, are so aureate with signposts for added movies that they leave you absent less.

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BIANCULLI: David Edelstein is blur analyzer for New York magazine. Monday on FRESH AIR, we allocution with Roxane Gay, columnist of "Bad Feminist." Her new memoir, "Hunger," is about her activity actuality hundreds of pounds overweight. Gay says she started accepting weight afterwards actuality gang-raped back she was 12. She writes that she anticipation if she fabricated herself repulsive, she could accumulate men away. Join us.

(SOUNDBITE OF MUSIC)

BIANCULLI: FRESH AIR's controlling ambassador is Danny Miller. Our abstruse administrator and architect is Audrey Bentham with added engineering abutment from Joyce Lieberman and Julian Herzfeld. Our accessory ambassador for online media is Molly Seavy-Nesper. John Sheehan directed today's show. For Terry Gross, I'm David Bianculli.

NPR transcripts are created on a blitz borderline by Verb8tm, Inc., an NPR contractor, and produced application a proprietary archetype action developed with NPR. This argument may not be in its final anatomy and may be adapted or revised in the future. Accuracy and availability may vary. The accurate almanac of NPR’s programming is the audio record.

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