‘The Mummy” begins with one main premise: Tom Cruise still has it. It ends with a promise: Tom Cruise will always have it. Assuming you’re on board with those statements, you’ll have a blast.

On its own, however, “The Mummy” is pretty weird. It’s like a high-speed blender that mixes equal parts action flick, zombie thrills and archaeological lore in the hope that the result will be a delicious blockbuster smoothie. Unfortunately, this doesn’t quite happen. In his eagerness to cram everything into the mix, director Alex Kurtzman (“Transformers”) loses his grip on some key plot lines, leaving the audience spinning in a dizzy whirl of “Huh?”

Unable to view this article?

This could be due to a conflict with your ad-blocking or security software.

Please add japantimes.co.jp and piano.io to your list of allowed sites.

If this does not resolve the issue or you are unable to add the domains to your allowlist, please see out this support page.

We humbly apologize for the inconvenience.

In a time of both misinformation and too much information, quality journalism is more crucial than ever.
By subscribing, you can help us get the story right.