Mummy Returns, The 

View Date: May 4th, 2001

Cast :

Written and Directed by: Stephen Sommers

Movies like The Mummy Returns make it very easy for critics like me who do see and analyze a lot of differing types of films.  In making this choice to be a cinematic town crier, I sit through all kinds of movies, basically paying money so either you don’t have to, or letting you know where your hard earned entertainment dollars should go.  In doing this, we are sometimes forced to turn off our fun mode, and go into analytical mode, either during, or directly after a viewing.  It’s easy to forget that the main reason a lot of us have chosen to do this stems simply from then fact that we love and respect the art of visual communication as a means of entertainment.  The Mummy Returns, like its predecessor, is a not so subtle reminder that movies can be fun, forcing anyone who even remotely tries to take it seriously, that it is for entertainment purposes only.  It’s lavish special effects, lighthearted touch, and fairly simplistic story (although this one is a bit more complex and clouded than the first, a point I will delve into more later) make this a representative film to kick off the summer, and a beacon and guiding point which other filmmakers should pay attention.

Director Stephen Sommers follows the Star Wars mode of picking up the story from the first frame, letting the original movie’s setup and established information carry over so there is no delay in shifting immediately into third gear, so you’d better be buckled in and ready for this one.  It is 9 years later, and explorer Rick O’Connell, his now wife, historian Evie, her brother, and their son are exploring in Egypt, again.  You’d think they’d leave well enough alone after their previous experience, but as with most people, curiosity gets the best of them as well.  They discover an ancient bracelet belonging to the Scorpion King (pro wrestler, The Rock) whose basic background story opens the film.  He was a great warrior who sold his soul for victory, and commands a great army which if unleashed would, of course, destroy the world.  These facts are shown, but also laid out in one of the movies many sharp-witted scenes, in a conversation between Rick and Evie regarding the history of the bracelet.  On the other side, we have the bad guys, who want to unleash the power and control the army and the world, since he who kills the Scorpion King, controls the army and can either send them to hell, or use them for personal gain.  With me so far? It’s not really this complicated.  These bad guys decide that the only creature with strength enough to defeat the Scorpion King is good old Imhotep, the mummy from the first film, so once again, not leaving well enough alone, they dig him up and revive him, and the battle ensues.  There is an added storyline involving fate, past lives and predestination of Rick and Evie which seems unnecessary and thrown in, but might also exist for the establishment of the rumored prequel coming soon, if this is the case, then I can forgive it, but as it exists now, it is a bit of a forgivable distraction amidst the other madness.  Sommers uses just the right balance of shocking and stunning effects, including the dog-like beasts, and those creepy black beetles from the first film, and sharp witted humor to keep the audiences attention both visually and verbally.  There really isn’t a dull moment in this film, and whenever you think there is, buckle up, because something is coming.

Analyzation of the performances also becomes secondary, since the characters and actors exist as foils for the special effects, but they are never cardboard or pointless.  Fraser and Weisz once again have their chemistry and timing down to near perfection, and Brendan is almost forgiven for making Bedazzled, almost.  John Hannah’s back as the greedy, but caring brother and also interacts well with their son, who steals nearly every seen he’s in, with his spunk and intelligence.  It is obvious he is the offspring of those two.  Basically, everyone who lived (and one who didn’t, of course) from the first film are back again, including the dark and mysterious warrior and protector Ardeth Bay (Fehr, from Deuce Bigalow as well), they are willing and fun loving puppets in Sommer’s special effects game, and it seems like they, along with us, do not mind being taken along for the ride. I can even forgive the casting and promotional manipulation of billing coming from The Rock's name being mentioned, even though he appears briefly in the beginning, doing what he does best, then appears in computer generated form near the conclusion.  I chastised this in a film like Executive Decision where Segal was listed, then killed early one, this time, amidst the fun, the manipulation is forgiveable.