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    Movie Review

    The Mummy is a monster way to start off a franchise

    Alex Bentley
    Jun 9, 2017 | 8:56 am
    The Mummy is a monster way to start off a franchise
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    Though not all of his films have been great, there is not an actor on Earth who works harder to entertain his audiences than Tom Cruise. He's more than willing to put himself in harm's way if it means making the end product that much more believable and sensational for audiences.

    That commitment is once again on display in The Mummy, an endlessly entertaining film that kicks off Universal Pictures' attempt to join the franchise business with a callback to their monster-movie roots. Cruise stars as Nick Morton, a military contractor in Iraq who unearths the ancient tomb of Ahmanet (Sofia Boutella), an Egyptian princess who had been buried far from home after a series of misdeeds.

    Turns out it would've been better for her to remain buried, as a protective curse brings down the plane carrying Ahmanet, Morton, assistant Chris Vail (Jake Johnson), and historical researcher Jenny Halsey (Annabelle Wallis). Now in a state between life and death, Morton must try to prevent Ahmanet from coming back to her full power.

    What the filmmakers, led by director Alex Kurtzman and writing team of David Koepp, Christopher McQuarrie, and Dylan Kussman, get right is taking their time to establish the story. Other films, in an attempt to kick-start the action, would have featured the aforementioned plane crash very early in the movie. Instead, Kurtzman and his team trust that the story they're telling is strong enough to make the audience wait.

    That pacing comes in handy with the rest of the film as well, as they flesh out the arcs of multiple characters, including scientist Dr. Henry Jekyll (Russell Crowe), who's on a monstrous mission of his own. Thanks to this attention to detail, you really feel like you know the main characters, which makes their dialogue and action that much more meaningful.

    There's very little that isn't rousing in The Mummy. The action sequences, particularly the plane crash and an attack by corpses risen from the dead by Ahmanet, are intense and inventive. Though far from a comedy, the film's use of humor is effective, dishing it out in fun ways, especially through Johnson's character.

    If you were to look strictly as his age — 55 — you'd wonder how much longer Cruise can keep up this act of being a major action star. But one glance at his seemingly ageless face and toned body show that he has what it takes to keep bringing the heat for at least 10 more years, if not longer.

    The Mummy is the ideal start for a new franchise for Universal. If the makers of future installments take as much care with their movies as they did here, moviegoers will be in for a treat.

    Jake Johnson, Annabelle Wallis, and Tom Cruise in The Mummy.

    Jake Johnson, Annabelle Wallis, and Tom Cruise in The Mummy
    Photo by Chiabella James
    Jake Johnson, Annabelle Wallis, and Tom Cruise in The Mummy.
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    Movie Review

    Iranian film It Was Just an Accident is a thriller with deep meaning

    Alex Bentley
    Oct 31, 2025 | 2:02 pm
    Mohamad Ali Elyasmehr, Majid Panahi, and Hadis Pakbaten in It Was Just an Accident
    Photo courtesy of Neon
    Mohamad Ali Elyasmehr, Majid Panahi, and Hadis Pakbaten in It Was Just an Accident.

    American filmmakers, for the most part, enjoy luxury and freedoms when making movies in the United States that filmmakers in other countries could only dream of. Not only does Iranian writer/director Jafar Panahi not have millions of dollars with which to make his films, he also has to deal with a government that has previously arrested him for being critical of their policies.

    And yet he persists, returning to the screen with the taut It Was Just An Accident. The film begins with a kind of misdirect, showing Eghbal (Ebrahim Azizi) and his family driving home at night, during which they strike and kill a dog. That accident sends Eghbal into the orbit of Vahid (Vahid Mobasseri), who works at a business that helps repair Eghbal’s car.

    Recognizing the distinctive sound of Eghbal’s prosthetic leg, Vahid believes him to be the same man who kidnapped and tortured him and others in a recent government arrest spree. Desperate to confirm his suspicions, Vahid kidnaps Eghbal and takes him to a series of people who were also imprisoned under the man they named “Peg Leg,” including Shiva (Mariam Afshari), a wedding photographer; Golrokh (Hadis Pakbaten), the bride being photographed; and more.

    Most filmmakers have the ability to use sets and take as much time as they need - within reason - to get the shot they need. Panahi employs a type of guerrilla filmmaking rarely seen these days, stealing shots in broad daylight while trying not to gain the notice of Iranian authorities. The daring nature of the making of the movie infuses the story with an extra tension that elevates what is otherwise a relatively simple story.

    The film puts the audience directly in the shoes of the various characters as each of them wrestles with the complicated feelings arising from their actions. As they were all blindfolded while imprisoned, they can’t be 100 percent sure they have the right man, and debates/arguments between the characters keep viewers guessing as to who he is and what they will do with him. Even if he is who they think he is, will enacting some kind of revenge on him soothe their consciences?

    Through it all, the idea that a former political prisoner is making a film about former political prisoners who are engaging in conduct that could get them arrested again - just as Panahi is doing with his film - makes this meta filmmaking on another level. The simplicity of the story belies the complexity underscoring the entire film, and it delivers one of the most impactful endings of any recent movie.

    While a few of the actors have acted before, including in previous Panahi films, most of them are making their first appearance in a movie. Despite this lack of experience, each of them does well, especially Mobasseri and Afshari, who share a number of heated scenes that bring out the best in both of them.

    It Was Just an Accident is the type of film that constantly keeps the audience on their collective toes, never knowing where it will head next. And that’s even if you didn’t know the details of how and why it was made; once that is discovered, it becomes something much deeper and more important than most other movies that will be released in 2025.

    ---

    It Was Just an Accident is now playing in select theaters.

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