I rather like it when things are this juvenile. I guess it’s the first of his films where he’s not a credited writer (though undoubtedly he had some hand in it). Mann nudges it towards his own space by making everything a half point more extreme than it quite needed to be.
I don’t know exactly how it is where you are, but in the UK cinema isn’t generally a participatory sport. Outside of comedy or horror there’s very few acceptable reactions one is allowed to have. I’ve been to screenings with the director present where the audience were too British to have the courtesy to applaud. Sure, not all films are hits, but you’d think polite uncomfortable appreciation would be something that we’d mastered as a culture.
I am so fucking done with this type of film. Wahay, look at the excesses of American capitalism, aren’t they awesome? Look at this fucking white-ass guy with his amazing life, and his big house, and his much younger wife. He is so much better, more capable, more successful than you. Who cares if he’s breaking the law, in capitalism all you’re chasing is that almighty dollar so of course he’s justified. Watch as he outsmarts everyone around him, his co-workers, his family, the cartels, the American fucking government. They’re all trying to get a piece of the pie too so who gives a fuck?
Time to add Alex Kurtzman to our list of babyman directors. The director of The Mummy has only a single other directing credit to his name, the sorta forgettable family drama People Like Us. Course you’d give him control of the $125 million Tom Cruise action tentpole joint that’s also supposed to be the launching… Continue reading The Mummy Review – Pan, pan, pan