This one hurt.
It hurt because it was clearly the product of people who knew what the hell they were doing. Everything that happens in THE MUMMY happens for a reason, and the story is solid. You have a good script (by Christopher McQuarrie and David Koepp, among others) that is logical when it needs to be (triangulating the hero's fate along the axes of a love triangle, between two poles) with flourishes winningly insane enough that you just go with them (Doctor Jekyll is a) alive in 2017, b) chasing monsters, and c) played by Russell Crowe). So many people showed up ready to play in this thing, including Sofia Boutella in the gender-swapped title role.
BUT GOD DAMMIT. The game cast doesn't feel like it had a chance to let loose, to explore the emotional life and conflicts that are right there in the material. Director Alex Kurtzman brings in the action and the spectacle, but does nothing to cultivate the emotional lives of the characters. The problem may simply be with his leading man, who has been better managed in the past: Tom Cruise here is required to be roguish, clever, conflicted, and ultimately full-hearted, and though he speaks the lines that indicate all of this, he doesn't seem to believe any of them. For a man ultimately torn between the otherworldly realms inhabited by Boutella and the more earthy and human love of archaeologist Annabelle Wallis, Cruise has no real chemistry with either. (Even Jake Johnson, cast in a funny wiseass role he could play in his sleep, seems, oddly, to be sleepwalking through the movie.) And the moments that should transcend and take the characters beyond themselves simply (though clearly) register as beats, without ever taking us beyond ourselves.
In the end one isn't bored by it, but that's hardly enough to kick off a franchise, is it? At first blush I mused that all of the movie's problems would be solved had Cruise and Crowe simply switched roles: as overvalued as THE NICE GUYS was, it did remind us that Crowe still possessed reservoirs of charm, action chops, and a sense of humor that would have lent themselves to THE MUMMY's roguish lead; and given the rumors that handily explain why Cruise's chemistry with his female co-stars is so flat, one salivates thinking of the subtexts he'd bring to Jekyll and Hyde. And one is depressed further to think that without Cruise in the lead, this movie doesn't get made. That a great movie that would have kicked off a franchise with grace, smarts, and style is right there in plain sight yet beyond its makers' grasp is a huge disappointment. To your proprietor, an engaged cinephile looking for anything in 21st century Universal Horror to believe in, such a missed opportunity is frustrating and painful.