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Hijinks, treasure-seeking, lesson-learning, and an oft-problematic relationship between "colonizers" and "colonized" ensues sometimes the film wants to satirize the idea that these simple villagers could be bamboozled so easily, sometimes it wants to play that regressive trope straight (this winds up being a pervasive problem in many of these kinds of films).Īnd speaking of problematic: The jocular tone of the picture, especially when oriented around our bumbling, maverick heroes and their continuum of "greed vs. Plus, thanks to some farcical misunderstandings, our wisecracking, eternally smirking leads are viewed by this city's people as gods coming down from the spiritual realm to fulfill prophecies. In many central ways a thorough embodiment of the "DreamWorks Smirk," The Road to El Dorado casts two con artists, Miguel and Tulio ( Kenneth Branagh and Kevin Kline having a ton of fun), on an accidental journey toward the mythical-but-surprisingly-real land of El Dorado, a city of gold and riches.
#Are the mummy movies on netflix series
RELATED: 'The Mummy' Animated Series Exists, But Should It? | Saturday Mourning Cartoons
With Jungle Cruise the latest film attempting to rekindle this highly specific genre, we thought it interesting to examine 12 of the most Mummy-feeling attempts since it changed cinema in 1999. It's also tried to make new Mummy-esque movies, attempting to blend that film's ingredients of adventure, action, horror, romance, comedy, and classical panache into something new yet old. Since that film's release, Hollywood has tried to re-shine the sun on The Mummy and recapture its lightning-in-a-bottle success in varying ways, including two official sequels extending the continuity, a spinoff extending the unvierse, and a 2017 reboot that tried to start its own, new cinematic universe. The Mummy's reputation has only increased in the years since release, even culminating in that most honored of contemporary pop culture status: A Super Yaki tribute. All of this blended together yielded a film that felt timeless yet timely, post-modern yet classical, faithful to adults looking for romance and horror while never alienating kids looking for fun set pieces and silliness. But the charming, fleet, and wholly entertaining picture also blends elements of classic, romance-tinged adventure cinema - Indiana Jones, Romancing the Stone, The African Queen, early film serials - and contemporary, family-tinged action-adventure cinema - Jumanji, Hook, Men in Black, and Jurassic Park.
#Are the mummy movies on netflix update
Most bluntly, it's a take on Universal Pictures' The Mummy series of films from the 1930s and '40s, and a general update of that studio's classic, Gothic horror films (many of which are adaptations of Gothic horror novels and stories before them). The Mummy, a Stephen Sommers action-adventure-horror blockbuster from 1999, is an obvious melange of influences.
My counter-argument would be that "nothing new under the sun" gives creators freedom - if everything's already been done, why not have fun doing it?
#Are the mummy movies on netflix full
It's easy to see how this phrase could be distressingly applied to the Hollywood machine, full of reboots and sequels and bald-faced pastiches.
Scott calls the film “ a powerful and pungent reminder of the necessity of art.” (“ Cadillac Records” is a similarly insightful look at race, fame and popular music.There is nothing new under the sun - not even that sentiment, which first originated in some old book called The Bible and has since wormed its way into modern vernacular as an efficient way to express a kind of weary cynicism about the repetition of life. Davis is superb as Rainey, chewing up her lines and spitting them out with contempt at anyone who crosses her, and Chadwick Boseman, who died in 2020 and won a posthumous Golden Globe best actor award for his performance, is electrifying as the showy sideman, Levee, a boiling pot of charisma, flash and barely concealed rage. The setting is a Chicago music studio in 1927, where the “Mother of the Blues” Ma Rainey (Viola Davis) and her band are meeting to record several of her hits, though that business is frequently disrupted by the tensions within the group over matters both personal and artistic. Wolfe brings August Wilson’s Pulitzer Prize winner to the screen, quite faithfully - which is just fine, as a play this good requires little in the way of “opening up,” so rich are the characters and so loaded is the dialogue.