In Theaters This Weekend: Reviews of 'The Mummy,' 'It Comes at Night' and More
Also: What THR's critics are saying about redemption story 'Megan Leavey' and Salma Hayek in 'Beatriz at Dinner.'
Tom Cruise-starrer The Mummy and It Comes at Night are among the new releases hitting theaters this weekend. Also opening Friday is Kate Mara in Megan Leavey and Salma Hayek in Beatriz at Dinner and the Molly Shannon-starrer Miles.
Read on to find out what The Hollywood Reporter's critics are saying about the new offerings (as well as which film will likely top the weekend box office).
Cruise stars in Universal's reboot of the franchise as a tomb raider who accidentally awakens a mummy played by Sofia Boutella. THR critic John DeFore calls Cruise "weirdly out of place" and describes the film, also starring Russell Crowe, Courtney B. Vance and Jake Johnson, as a rough start to Universal's Dark Universe flicks. DeFore, however, adds, "What is surprising is that this film's action makes one slightly nostalgic for the 1999 incarnation, or at least prompts one to ask if it wasn't maybe more fun than we gave it credit for." Read the full review here.
The post-apocolyptic thriller follows Joel Edgerton, Riley Keough, Christopher Abbott and Carmen Ejojo as two families struggle to survive inside a locked home against a mysterious disease sweeping the population, only to realize the the threat may be coming from within their own place of shelter. THR critic Sheri Linden writes in her review that the film confirms director Trey Edward Shults has a "sure and fluent grasp of storytelling." She adds, "An outstanding ensemble gives life to every fraught word and anxious silence of the apocalyptic nightmare, with especially powerful performances from Joel Edgerton, as a family’s hyperalert patriarch, and Kelvin Harrison Jr., as the son who senses the limits of his family’s stand against disaster." Read the full review here.
Mara stars as the titular character in the true story of a young Marine fighting in Iraq who, along with her bomb-sniffing, military combat dog, saved many lives during her deployment. Common and Edie Falco also star in the drama, which Linden calls "incisive and affecting." She also writes in her review, "Though it may hit a few predictable notes, its embrace of flawed and messy characters and refusal to repair every frayed emotional connection give it a dynamic, in-the-moment vigor."
A healthy worker (Hayek) breaks bread with a private client, a wealthy Trumpian capitalist, in Beatriz at Dinner. Connie Britton, Chloe Sevigny, Jay Duplass and Amy Landecker are also seated at the table, where a heavy conversation consists of talking trophy-hunting rhinos and asking Hayek's character if she entered the country legally. THR critic Leslie Felperin writes in her review that Hayek's performance is "rich in stillness, tenderness and dignity," but calls the film a "well-intentioned but way too on-the-nose comedy-drama." She adds of director Miguel Arteta's feature: "Although this may contain the best performance of Hayek’s career, and an act of violence in the third act will be deliciously appealing to the basest instincts of every angry liberal at this particular post-inauguration moment, it’s still a flawed work, too broad and scattershot to skewer its deserving targets with the precision necessary for the task." Read the full review here.
Shannon and newcomer Tim Boardman lead the cast of this comedy, which follows the ups and downs of a young gay man who also happens to play on the girls' volleyball team at his high school. THR critic David Rooney writes in his review that the film is "sweet," but "if it's ultimately a tad soft to go beyond LGBT festivals and VOD windows, the movie gets a helpful dose of heart and warmth from Molly Shannon's work as the protagonist's careworn mother."
This Victorian-era drama follows Sam Claflin into a tangled web between good and evil as he believes his cousin Rachel (Rachel Weisz) is the murderer of her husband but soon begins to fall for her charm. Linden writes that the bottom line is that Roger Mitchell's film, adapted from a 1951 novel by Daphne du Maurier, is a "deliciously dark mystery."