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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.

Tom Cruise in The Mummy.

Tom Cruise in The Mummy
Photo by Chiabella James
Tom Cruise in The Mummy.
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Movie Review

Shaun the Sheep gets PG-spooky in new movie for the Halloween season

Alex Bentley
Sep 18, 2026 | 11:50 am
Shaun the Sheep in Shaun the Sheep: The Beast of Mossy Bottom
Photo courtesy of Aardman / Sky UK LTD / StudioCanal 2026
Shaun the Sheep in Shaun the Sheep: The Beast of Mossy Bottom.

Since his introduction over 30 years ago, the Aardman Animations character Shaun the Sheep has been almost as popular as the studio’s flagship characters, Wallace and Gromit. There is never a shortage of trouble Shaun can get into as he leads his flock and proves to be a thorn in the side of his farmer and Bitzer, the farmer’s loyal sheepdog.

His antics lead everyone down some slightly spooky roads in the new film, Shaun the Sheep: The Beast of Mossy Bottom. At first, things are only slightly awry as Shaun and the flock are growing a secret pumpkin patch to have their own jack-o-lanterns. But when the farmer accidentally destroys the pumpkin patch, Shaun tries to regrow it quickly with a Frankenstein-esque experiment.

However, disaster looms when Shaun uses an old bottle of Hair-Gro as the container for the serum he creates. Naturally, the balding farmer uses it on his head, and everyone soon discovers how truly successful it is, with pumpkins growing out of control and the farmer sprouting hair all over his body. Through a series of mishaps, the farmer becomes the titular beast, creating mayhem while Shaun and others try to stop him.

Directed by Steve Cox and Matthew Walker, and written by Mark Burton and Giles Pilbrow, the film goes down just as easy as every other Aardman project has. They get the Halloween vibes started from the opening credits, with things like the sheep doing the “Thriller” dance, and continue the fun throughout, referencing everything from Psycho to Friday the 13th in a nice, PG way.

With no script — every character is mute save for reaction noises — the movie relies on sight gags for its humor, and the Aardman team is endlessly inventive in that respect. Sometimes it’s small things like a sheep using toilet paper rolls as binoculars, and sometimes it’s something like forcing the Bigfoot-like farmer to be shaped into a rectangle as he escapes through a window. But there’s a never-ending stream of such moments, so even if one doesn’t tickle your funny bone, chances are the next one will.

The biggest benefit of the characters not talking is that there’s no need for deep character development. The filmmakers do a great job of giving the basic traits of each character, and then use those attributes to color everyone’s actions for the rest of the film. Shaun is the troublemaker, the farmer is a bumbling fool, Bitzer is preternaturally smart, and the town’s vet is empathetic, and the combination of those characters and others makes for a highly entertaining blend.

Like all Aardman creations, Shaun the Sheep: The Beast of Mossy Bottom is a fun lark that doesn’t make its audience think too hard. With just enough references to keep viewers engaged but not so many as to be overbearing, the film puts its well-worn characters to good use once again, delivering a Halloween season story that can be enjoyed by people of all ages.

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Shaun the Sheep: The Beast of Mossy Bottom is now playing in theaters.

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