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avidfanficwriter · 5 years

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The Other Sister (Chapter 1)

Characters: Steve Rogers(AU!) x OFC.

Summary: After five years of marriage, Steve Rogers finds himself questioning everything that his wife, Annabel has ever told him thanks to the impromptu visit by her troubled younger sister: Addison; whose existence he’s just learned about fives years prior. His only question now is: who verison is the truth? His loving wife? Or the troubled sister?

Ratings: M.

Warnings: Mentions/indications of depression, mentions of sexual abuse, indication of mental abuse, drug abuse, alcohol abuse. (Warnings will be updated as chapters come)

Authors Note: It’s not gonna be pretty. I’m sorry for the you know, skipping out on everyone and neglecting my blog. I’m better than that, you know that. I know that but I’m trying. Believe in me. :)

Chapter 1. Chapter 2.

There's a scene in dramatic movies that always seem to be shot in the same way, a simple setting, two people, one is nervous while the other is calm. The person who is lucky enough to be calm eventually notices the odd behaviors from the other and questions it. They're given a jaw-droppingly shocking statement. The kind that makes them choke on their drink or forget how to breathe. At first, they don't know how to react. It's a pot full of emotions, anger, sadness, annoyance or worst-case scenario disgust. They question how they are going to get over it or understand it.

That moment of being unclear how to continue is how Steve felt right now, only instead of just a flurry of emotions, there's a nauseous feeling pooling in the pit of his stomach.

"-ay for a while." He doesn't have the faintest idea what his wife is saying now, after the first few words she spoke, he's blacked out the rest. It takes a few moments to gather himself, followed by another to convince himself he won't vomit. "One more time..." he asks.

His wife, Annabel Shaw-Rogers cocks her head at her husband. "I said Addison needs a place to stay for a while." He nods. "I told her no but she was insistent on it, something about doctors orders. She's probably just got out of rehab again. Once a junkie always a junkie." She trails off in annoyance.

All Steve can do is nod in response, he's chewing on his bottom lip trying to not scream. "The sister who was in and out of jail the last few years?"

"Uh-huh."

Another nod. "The sister who pops drugs like they're candy?"

"Uh-huh."

He clears his throat and rests his hands on the counter, staring at the wall ahead of him. "The one you don't hear from unless she needs something?"

Annabel chuckles and walks towards her husband of five years, she reaches out to him, wrapping her tanned arms around his waist. "Baby, I only have one sister. All of the horror stories you are about to ask are indeed about her." She takes a moment to rub a calming hand down his chest. "She's going to have to stay here if not, she'll never let that be the end of it." The sentence is ended with a loving kiss on his cheek and she leans into his body, trying to use her affection as an apology for the cards they have been dealt. For Steve, it'll take far more than a simple kiss and hug to rid the horrid taste in his mouth. She'll invade their privacy, ruin their home, invade the wholesome environment they have. Her drug-diseased handcuff ridden hands would be all over his home, infecting it. The air would be toxic, everything would have to be replaced, their home would need to be replaced.

A new home, new furniture, new clothes. He'd be out of money by this time next year.

If that wasn't bad enough, Addison Shaw was trouble with a capital T. The woman had trouble etched in her bones, her blood was filled with negativity. The only way to explain young Addison was everything bad that one person can do, Addison had done and then some. The two sisters were miles apart, Annabel was beautiful, sweet and brilliant while Addison was problematic, untrustworthy and downright awful.

They were cut from two different strands, good and bad. To Steve, part of it would have made sense if one of them was bad if their daddy had a criminal history or even mommy but both parents were normal, average. Met in college, fell madly in love. Their mother was a stay at home mom, dad was a banker. They stayed out of trouble, minded their business, went to church on Sundays and said their prayers before bed. They were loving parents to beautiful girls, Annabel, their oldest, his wife. A dirty blonde haired girl who had dreams of being a singer. Their youngest, Addison was a brunette with-how he remembers hearing their mother describe as-big beautiful hazel eyes with the tiniest hints of green. There were no hopes or dreams used to describe her, no happy or cute memories that followed after any mention of her. It was always just Addison and then silence.

The idea of Addison... staying there in his home, ruining the atmosphere. Forcing he and Annabel to live on edge to accommodate her. It wasn't fair and it wasn't right. However, this was his wife, the love of his life. He couldn't say no if she had already said yes. She had to be dealing with far more issues than his own, this couldn't have been easy on her.

"How long?" He finally asks with a deep sigh.

It takes her a while to answer which scares him, "A few weeks." That's an arrow straight in his heart. He's already envisioning his gravestone, 'Steven Grant Rogers. Died from: sudden cardiac arrest brought on by wife's junkie sister.'

"Fine..." He says with another sigh. "But she doesn't stay in the house."

"Where are we going to put her, baby? The doghouse?"

Steve smiles. "If we had a doghouse, that wouldn't be nice enough for her."

Annabel agrees, pulling her arms from Steve. "Where then?"

"The guest house."

"It's not finished with the remodel."

"The kitchen is the only part left, the room, living room, and bathroom are done. She can survive with half a kitchen." He remarks.

"Just means she'll have to be here when she wants to eat."

Steve wanted to strangle her, probably the only time on this earth that he had the urge to do so. A day he could handle, maybe two but an unspecified amount of weeks was hell on earth. Hell, literary, as if they had taken a one-way ticket to the bottom of Satan's ass. "I'll get the contractor to finish the kitchen within the week, pay him double if I have too."

The contractor comes as planned and is less than happy about the sudden change, "In a week? My guys are gonna be workin' double time."

"I know, I get it. I'll pay you double-triple what you were getting. I just need this done by Monday." With a heavy sigh, the contractor agreed, apologizing ahead of time for the noise they would soon be faced with.

They had noise and he was having nightmares, a horrible combination. Steve was on the brink of losing his sanity and the worst had yet to come. The impending doom of Addison's arrival was rapidly approaching. Each time he closed his eyes, it was followed by a possible outcome of Addison living with them. In one, she burnt down the house another threw a rager when they went out to dinner and the worst was her overdosing in their kitchen. Her arrival was eating him up.

"Addison is aware we are gonna have rules?" Steve asks over dinner one night, over the sound power tools echoing through the home.

"I'm sure." Annabel nods, chewing her food and staring at her cell phone.

"Are we going to have to hide all the medicine?"

Annabel drags her eyes from her facebook feed to stare at Steve blankly. "I hadn't thought about that." She clears her throat. "Probably. She'll probably wind up overdosing on cold medicine." The tone of her voice is full of malice and humor.

It was crude place in time now that Steve found himself chuckling at the statement, instead of being overtaken with disgust. He always saw the best in people, believed that everyone deserves a second (Or more) chance. He extended olive branches, forgave the unforgivable, he was the embodiment of a good guy but times had changed. "You're okay with this, right?" Annabel asks in a small voice.

"Of course." He lies.

"Steve, are you really?"

He exhales deeply, "Baby, she's your sister."

"Only by blood." She remarks. "Trust me, If you could change your genetics, I would be first in line." There's not a hint of humor in her voice, she truly would. As depressing as it sounded, Annabel was ashamed to admit she had a sister almost as much as her parents were to say they had two daughters. He remembers taking Annabel on their first date, they talked about their families, there was never a hint that she had a sister. Annabel had spun a web that led him to believe she was an only child.

In fact, Annabel never spoke about her, nor did her parents; it was like she never existed. It wasn't until their wedding that Addison dropped the bombshell of having a sister that left Steve speechless. It was nearly the end of their romance. "You have a sister and you just what? Forget to tell me about her?" He shouted in anger, slamming the front door behind him as he stomped into their new house. "We've been together for three years! Are those even your actual parents or are you waiting to introduce me to the real ones in another three years?"

Annabel turned to face him, sighing and running a hand through her hair. "Steve, calm down." She pleads.

"Don't tell me to calm down, you've been lying to me for three years."

"I wasn't lying, I just didn't tell you about her."

He groans, "That's the same damn thing." He heads to the kitchen, grabbing a beer from the fridge and quickly gulping it down. The only way he can think to calm his nerves is drinking alcohol also another way to keep his mouth busy instead of shouting.

"Listen, Steve..." He ignores the next thing out of her mouth, pleas spill from her red-tinted lips about their upcoming wedding, 'it's only a month away', 'we can't call it off now! What am I going to tell my parents?'. Excuse after excuse yet she avoids the topic at hand. Her sister, a sister that she never once spoke about. That her parents never spoke about. Their family album had no pictures of another child, the pictures littered through their home was void of this mystery sister.

"Why?" He asks, refusing to divulge into talk about their wedding, one mention of it and that would be all she'd focus on. He feels betrayed and used. He starts to question everything she's ever told him, even questions the validity of their relationship. "H-how.... how does someone lie about having a sibling?"

"It's complicated."

Steve's eyes go wide and he leans in, chuckling. "Complicated?" he questions, setting his beer down on the counter in front of him. "Hey, Steve, I have a sister. Yeah, her name is Mary, she's nineteen; lives in Alabama, don't see her much. How is that complicated?"

Annabel sets her purse down on the counter in front of Steve, sighing heavily. "Okay... I was going to tell you, I planned on telling you but it just... isn't easy." She closes her eyes and swallows deeply, he notices her hands, she's squeezing her fingers. "We don't talk about her."

"We?"

"My parents, me; my family." Annabel lets out a nervous chuckle, realizing for the first time in years, she's confessing what is suppose to be a lifelong secret. "Her name is Addison and she's twenty-seven years old and... I don't know where she's living, I ran into her in Miami on the girls trip a few months back but I don't know where she's at right now, I haven't since she was sixteen."

It's even worse than Steve expected, however, he's not entirely sure what he expected. "What do you mean since she was sixteen? If she's twenty-seven now that means you're only two years apart." Annabel nods, ashamed. "What does that even mean?"

Annabel can hardly stand the look of confusion on her husband's face. There's no stopping now, she had to continue for both of their sakes. "You need to understand she put my parents through hell. She was horrible, a bad kid, beyond bad. She did drugs, threw parties, refused to go to school; refused to come home, drank. Anything she could do, she did. My parents tried, I tried. They sent to her to my uncles to try and help her but she nearly burned his house down." It's as if a weight has lifted off her chest, the lie that she had forced herself to believe is finally free. "She was unfixable. Getting worse as the days went by."

"And you just gave up on her?" Steve questions in an angered tone. "She was a kid!"

"No, we didn't!" She raises her voice, getting insulted by the accusation. "My parents tried like hell but it never worked. She never let it and they couldn't do it anymore, my dad was on the verge of losing his job, mom was having a mental breakdown. One day, my dad had enough he threatened her if she continued, he'd make her leave. She didn't change. The next day, she came home high and he packed her a bag and kicked her out. Called friends and family told them to not let her in."

"How old was she?"

"Sixteen."

"Six-Sixteen? She was sixteen years old?" He questions in shock. "Your father kicked your sixteen-year-old sister out of the house with nowhere to go?" The thought is unimaginable to him, an innocent child out alone in the world, battling the street of California with no one to help her. It made him sick, he could barely look at her.

"It sounds bad, I know."

He nods, chuckling being the only thing he can do that doesn't wind up with them ending their engagement. "I don't think you do."

"I wanted her to come back, I looked for her but I couldn't find her."

It's a lie or a comedy skit, it has to be. It doesn't seem plausible. He's met her parents, her fathers is the sweetest guy in the world, her mother loves with all of her heart. The first time he met her, she demanded a hug and that he comes over every holiday, birthday and Sunday for dinner. The idea that they, everyone's dream parents had kicked a child out of their home. "So, you guys just what? Woke up a few days later and said we only have one daughter. Gee, what a nice day?"

Annabel cocks her head in annoyance, "No, One month of her being gone, turned into three and then it was a year and before we knew it life was so much easier without her around. My parents weren't fighting, I wasn't missing school because of something she did. We didn't have any police around the house, it was just simple. Normal. A happy family." She finally sits down on the bar stool, feeling exhausted. "Eventually we realized anytime we talked about her, my mother got sad and my father was angered. People didn't understand it either when we said what happened and we found it easier to not talk about her. We just pretended she didn't exist."

Steve doesn't understand, he can't even begin to understand. If he had a child, he couldn't imagine turning on them. Casting them out with all dangers in the world that they could succumb to. No matter how horrible they were, he'd never give up on them. He couldn't. It wasn't in his blood. "You never heard from her until a few months ago?"

Annabel nods her head, brushing her hair behind her ear before she begins. Another jog down memory lane that breaks his heart even more.

It was a few years later before her name was spoken again in the Shaw household, they had a phone call in the middle of the night from a detective in Texas, Addy; It softens his heart just for a second when Annabel uses her nickname, it shows she still cares somewhere in there. Addison was found in a cheap, rat and drug infested motel unconscious with signs of sexual assault. It had taken her three days to finally talk to police and another three for her to confess her first name. it was luck or a miracle that they discovered her purse trashed in an alley.

"Do you know how late is it?" Her father, Gregory had shouted into the phone. His voice rough and full of sleep.

"Sir, I apologize for the disruption. This is Detective Amanda White from the Austin Police department, sir, I'm afraid I have some bad news. We've found your daughter, Addison Shaw."

The detective went on to confess the details of the case, Addison refused to talk, claimed it was a misunderstanding. An accident, she fell while getting dressed but all evidence said otherwise. They had found the doer but she refused to press charges and point the finger at him. He shrugged and simply told her, "I only have one daughter." In his mind, Addison had made her bed and whatever path she was on, was her own doing. After that, anything that reminded them of her was gone, pictures, drawings, baby boxes. She was merely a blip in their past. As far as anyone in their lives would know, the Shaw's had one daughter, Annabel.

"My dad didn't care," Annabel says with a look of pain. "my mom nearly died but she would have followed my father to the ends of the earth without second-guessing when he said never mention her, we didn't."

Annabel goes on about running into her baby sister in Miami on her girl trip. Her last trip as an unmarried woman, the last hurrah. It was the hotel she was staying in that she found Addison. Not recognizing her at first, it had been so long since she'd seen her that time had corroded her image.

"Addison?" She questions on a whim to the young girl with brown hair tied in a ponytail and dressed in a hotel uniform. "Addy?" It was her, beyond all belief. Their eyes met and Addison was a deer in headlights. It was an awkward reintroduction, two sisters split by time, coming face to face.

"I'm getting married!" Annabel shouted midway through the conversation, her happiness leaking through. "I want you to be there." The words came out before she had a second to rethink her sentence.

Addison said nothing in response. It was a brief silence and a deep sigh before she answered, in a distant voice with cold eyes. "I hope you have a good wedding."

"No, Addy, I want you there. It's my wedding day and I want my family there, all of my family." Her sister is still silent, staring at her like she's never met her. Which is nearly the truth, they didn't know one another. Other than their names, they were strangers. It had taken some convincing before Addison had responded with, "If time works out, maybe I'll think about coming." Annabel left her phone number with her, asking her one last time before she left "Just come, okay? It'll be fun." She didn't think it would work but this morning when she woke up, there a text message from an unknown phone number that simply read. "When is the wedding again? And where? -Addison." She texted back immediately, eyes still blurred from sleeping and another text arrived a few hours later. "I can come if you still want me too," Annabel responded by sending her the ticket details and saying she couldn't wait to see her again.

"So, she's coming to our wedding?" Steve finally questions, rubbing his eyes and wishing he'd bought more beer.

"Yes."

"And what do your parents think?" He asks.

"I haven't told them and I'm not going to."

"Anna..."

"Steve, it's my day, if I want to invite my sister that is my choice."

"Fine." He agrees, walking around to the counter to engulf her in his arms. The good guy inside of him begins to think it could be the best thing to happen. The family could mend, forget about the past and begin again, Something good could come from their wedding. "This could be a fresh start. A way to move on from the past. A restart." He’s fooling himself with the agreement but his biggest flaw was always wanting to see the best in people, if she wanted her to be there, he would do that for her. For their family.

#Steve Rogers #Steve Rogers Au #chris evans fic #Chris Evans fanfiction #Chris Evans Imagine #Chris Evans #fanfictions #Avengers #captain america #The Avengers #Avengers fanfiction #Steve rogers Fanfiction #Steve Rogers Imagine #Steve rogers Fanfic #Chris evans Fanfic #Steve rogers Fic

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mrmichaelchadler · 5 years

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“A Simple Plan” isn’t your typical Sam Raimi movie, and that’s why it’s his best

Whenever a new Spider-Man movie is released, it is inevitably compared not to the entire MCU but one single superhero film: “Spider-Man 2”. Writer/director Sam Raimi’s 2004 sequel, the one where Peter Parker (Tobey Maguire) battles Doctor Octopus (Alfred Molina), was a box office smash and one of the best-reviewed comic-book movies. At the time, “Spider-Man 2” was the pinnacle of comic-book cinema. In his four-star review, Roger Ebert called it “the best superhero movie since the modern genre was launched with ‘Superman.’”

Fans of Raimi’s pre-Parker work weren’t surprised. His career began with a string of cult classics—the “Evil Dead” trilogy and “Darkman”—full of his signature sense of humor, hyper-zooms, cheap special effects and copious amounts of blood. His filmography reveals entry after entry of genre pulp featuring characters dealing with life-changing events.

While Raimi’s most well-known variation on that theme might be “Spider-Man 2,” his best is “A Simple Plan,” a slow-burning crime drama that opened in a handful of theaters 20 years ago.

A limited release that expanded from December 1998 to January 1999, “A Simple Plan” is Raimi’s most subtle, unstylish movie to date. Bill Paxton stars as Hank, a small-town husband and soon-to-be father who works at a feed store. Luck changes for Hank as he, his brother Jacob (Billy Bob Thornton), and their friend Lou (Brent Briscoe) find more than $4 million in an airplane that crash-landed in the woods. Small-town good ol’ boys turn into small-town criminals as complications pile onto the trio’s naive plan of keeping the money hidden from authorities.

Such a movie was different than anything Raimi had previously done. In a 1999 interview with Duane Dedek at the Milwaukee Journal Sentinel, Raimi said “A Simple Plan” was his first attempt to put the script and acting ahead of his blood-soaked, B-movie style. While “A Simple Plan” underwhelmed at the box office, critics including Ebert called it “one of the year’s best films.” Further validation came when it picked up Oscar nominations for its screenplay (by Scott B. Smith, adapting from his 1993 novel of the same name) and Thornton’s supporting turn.

Raimi should get as much credit, not for “sitting back” as he suggested in that interview, but for using his style to his advantage. “A Simple Plan” is still very much a Sam Raimi production, from Danny Elfman’s score to use of dissolves; from panic-inducing tension to splatters of blood. However, those tricks aren’t over-exaggerated, nor do they distract.

Within the first 15 minutes of “A Simple Plan,” Raimi establishes the barren, snow-laden setting. The good-intentions-gone-bad theme appears as a fox captures a hen. Raimi juxtaposes the fox’s hunt with the introduction of Hank, a broad, idyllic man who follows the wisdom of his father.

“I remember my father telling me what he thought that it took for a man to be happy,” Hank says. “Simple things, really. A wife he loves, a decent job, friends and neighbors who like and respect him.”

After Hank visits his parents’ grave with Jacob and Lou (a town drunk who would rather piss in the snow than pay his respects), Jacob nearly runs over the fox. Jacob swerves, crashing his truck into a tree. Jacob’s dog chases after the fox, leading the three men to snow-covered plane surrounded by ominous black crows. As Hank enters the plane to further investigate, crows panic, clawing at Hank. A frozen-dead body stumbles off the pilot’s seat, its hardened blood crashing to the floor. After the scurry, Hank comes out of the plane with a couple scratches and a bag full of money.

At each turn in this setup, Raimi jolts the audience with his trademarks—a few zooms, jump scares and a little gore. However, the rest of “A Simple Plan” is rooted in examining the consequences of a literal jackpot falling in these characters’ backyard. As Ebert noted in his review, the advantage Raimi has here is a flawless cast with players who own their roles.

As Hank, Paxton plays the generic family man turned aspiring thief. Hank is a guy with values, spouting lines like, “You work for the American Dream. You don’t steal it.” However, newfound wealth makes Hank determined and manipulative. After finding the money, Hank quickly becomes hellbent on convincing his wife Sarah (Bridget Fonda) to go along with his plan. Paxton’s gee-whiz attitude helps sell Hank’s breathless lies. Hank frantically takes control of the situation as each new hiccup arises. No one—not family, Lou, a suspicious neighbor, the town sheriff (Chelcie Ross) or a supposed FBI agent (Gary Cole)—will get in Hank’s way. For an actor tied to delivering memorable lines like “Game over, man!” in “Aliens,” and playing support to spectacles in “Twister” and bigger casts in “Apollo 13,” “A Simple Plan” is Paxton showing his range. He plays up his blue collar attitude while trying to hide darker motives.

In Jacob, Thornton embodies a depressed, virginal drunk. The lonely, older brother to Hank, Jacob has nothing, save his dog, spare mattress and messy apartment. Jacob casually admits these details as a way to confess that keeping the money is as worthless as his life. On paper, Jacob reads as the typical Thornton character: the good-hearted loser with a drinking problem. In contrast to Thornton’s profane and loud turns in “Bad Santa” or “Goliath,” Jacob is soft-spoken and aloof, helplessly stuttering, puttering and wincing. For those who think Thornton always plays the badass, Jacob is the direct opposite, revealing the actor’s too-rarely-tapped range. “I mean hell, Hank, I’ve never even kissed a girl,” Jacob says. “You know, if me becoming rich is gonna change all that, you know I’m all for it.” It’s heartbreaking because of the honesty in Thornton’s performance contrasted against how clearly Raimi and Smith foreshadow the tragedy to come.

As Sarah, Fonda is also given more dimension than the typical girl-next-door parts for which she was known. Sarah is introduced as a heavenly sight, an angel standing pregnant and naked in the room of her soon-to-be-born daughter. When Sarah is told about the money, she desires only to protect the small, nice life her family has. But like Hank, greed quickly infects her mind. While working at the library, her job comes second to investigating how the plane crashed. Soon, she’s making suggestions to Hank’s stories, enabling him with lines like, “Nobody’d ever believe you’d be capable of doing what you’ve done.”

In a last ditch effort, she pleads her case. Through tears, she wonders what life would be like without the money. “What about me? Spending the rest of my life, eight hours a day, with a fake smile plastered on my face checking out books,” Sarah says to Hank. “And then coming home to cook dinner for you, the same meals over and over again, whatever the week's coupons will allow.”

Briscoe, a character actor known for turns in “Twin Peaks” and “Sling Blade,” is the loudest of all the leads as Lou. But his volume is necessary to the story, further complicating Jacob and Hank’s family dynamics. As Jacob’s best friend, Lou is the brother Hank isn’t. “You know we don’t have one thing in common me and (Hank), except maybe our last name,” Jacob tells Lou. “You’re more like a brother to me than he is.” Unlike Hank, Lou keeps Jacob’s attention with silly jokes and stories. Jacob and Lou regularly hang out at bars, taking beers with shots of whiskey. Eventually, Lou bumps into another patron and starts a fight. Such a temperament is a risk to Hank’s plan of quietly keeping the money. Lou could ruin everything, and Hank tries to convince Jacob of Lou’s reckless nature.

As the typically typecast performers subvert expectations, Raimi also stays out of the way of the already gripping story. “A Simple Plan” isn’t Raimi having fun at a genre’s expense. Instead, he’s honestly respecting the reality of these characters’ world. Any trace of the CGI wizardry we’ve come to expect with Raimi’s movies barely exists here (a few puppeteers were hired to control some crows, but that’s about it). Raimi even sought advice from the Coen brothers on how to shoot naturally and most effectively in the snow; a trick the brothers learned while shooting “Fargo.”

Raimi foregoes the dark comedy and bloodshed of that Coen film for pulse-quickening tension borne from understandable, human decisions. Hank gets word that an FBI agent without a badge wants to investigate the crash site. Soon, Hank is balancing his family, greed and crimes—all while being cornered in the sheriff’s office. Yet, even in these jams, Hank still positions himself to get away clean. Each move, every bit of deception, piles up, forcing Hank and Jacob to face their lies. By the end of the film, the best Hank can hope for is a future filled with days when he manages “not to think of anything at all,” he says, “... as if none of it ever happened. Those days are few and far between.”

The days where Raimi would explore such themes with more restraint may be far behind us, too. By 2002, the director found the perfect showcase and budget for his style in “Spider-Man.” He perfected the mix of his signature ingredients (special effects, tension-filled action, casts full of scene-stealing character actors like J.K. Simmons) in “Spider-Man 2.” Raimi does deserve credit for delivering a dramatic, stakes-filled superhero movie before DC and Marvel thought to build its’ cinematic universes. But before Raimi got his Spidey sense, he found space for his style to roam rather than dominate in “A Simple Plan.” Stripped of extravagance and $200 million budgets, Raimi proved he could make a smaller, more dramatic movie that’s as good, if not better, than his cult classics and blockbusters. Hopefully, it doesn’t take him another 20 years to return to that quieter, simpler place.

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xxionlinemovies-blog · 7 years

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The Mummy (2017) Movie Review

Checkout The Mummy (2017) Movie Review on http://xxi.online/the-mummy-2017-movie-review/

The Mummy (2017) Movie Review

MOVIE REVIEW

Man, those ancient Egyptians sure make a big deal out of one teensy-weensy murder spree.

Some might say Ahmanet had every right to be peeved. (Well, Ahmanet would say so, at any rate.) She was next in line to be the queen of Egypt, after all. That’s right, queen—a gig that comes with perks, like servants to feed you grapes, statues that look like you and all the sand you could ever want.

But then the current Pharaoh fathered a son—a wholly inconsiderate act on his part—which left Ahmanet with just two options. One, to swallow the disappointment and content herself with being a well-fed, well-heeled member of Egyptian royalty; or two, make an unholy pact with ultimate evil and paint the palace red with her family’s blood.

Naturally, Ahmanet chooses the latter.

She kills the Pharaoh, his wife and their son. But she’s not done yet. To finalize her deal with Set, the Egyptian god of death, she has to kill her lover, too—freeing the guy’s body for Set to, um, set up shop in it. Then he and Ahmanet can partner up and plunge the world into darkness and death.

But before Ahmanet can strike that final blow, Egyptian guards capture her. Death, they decide, is too good for her. And given the fact that her deal with Set turned her into a tatted-up half-demon-thing, they figure some extra precautions are in order.

First, they mummify her alive. Then they throw her in a heavy metal sarcophagus and ship her to Mesopotamia a thousand miles away. They dig a huuuge hole for her, fill her tomb with mercury (said to weaken demonic power) and then cover the whole works in dirt, hoping no one will ever find it again.

Talk about overkill.

Well, clearly, Ahmanet’s in a pickle. It’s hard to plunge the world into darkness and death when you’re stuck in a—

Wait, wait just a minute. What’s that? Did Ahmanet just hear a huge explosion above her? Has it been 5,000 years already?

Hey, look: daylight. Oh, and wow: Three people are repelling into Ahmanet’s uber-creepy tomb?!

Surely, when they notice all the mercury, they’ll put on gas masks, right? No? Well, perhaps when the lone archeologist in the bunch reads all the warning signs—like, literally, signs posted everywhere warning people not to disturb this terrible, terrible tomb—these folks’ll take some additional precautions. Or maybe the legions of giant, biting spiders might deter them.

No? Well, at least they won’t dare to loose those ancient ropes and—oh, never mind. One of the explorers just loosed them.

They say that patience is a virtue. And it seems that Ahmanet’s 5,000 years of patience is just about to pay off. Great.

Great for her, that is. Everyone else … not so much.

POSITIVE ELEMENTS

Nick Morton is Ahmanet’s official rope-looser. The mummy appreciates the gesture so much that she selects Nick as her next “beloved”—that is, the guy she’s going to kill to introduce Set to the world. And because of Ahmanet’s ability to weasel into his mind, Nick sometimes seems just fine with that. He’s described as a perfect vessel for Set, given his lack of morals and his dearth of consideration for anyone but himself.

But Jenny, the archaeologist, believes that underneath his rough exterior, Nick’s an OK guy. “I knew there was more to you than money,” she says.

No, no, sorry. That’s Princess Leia in Star Wars. (Wrong notes.) No, Jennysays, “Somewhere, fighting to get out, is a good man.” And turns out, she’s right: Nick turns from a selfish treasure-hunter into a self-sacrificing do-gooder. And he eventually shows a willingness to sacrifice pretty much everything—body, soul and spirit—for Jenny when the Egyptian chips are down.

There are a few others who’d like to prevent the end of the world, too, if possible. Dr. Henry Jekyll is especially keen to do so, even though he knows it means making some uncomfortable sacrifices himself.

SPIRITUAL CONTENT

Take a load off and set a spell, while I talk about Set and spells.

Set, as mentioned, is the Egyptian god of death. (Or god of the desert, war, storms, chaos, wind, war, darkness, disorder, violence, etc., etc., depending on which source you look at.) Jekyll calls him out as evil and says that Christians call the very same guy Satan and Lucifer. But rather than follow the Christian idea that Satan and evil are already actively influencing our world, Jekyll characterizes evil as lurking just outside it, looking for a way to come in.

Set has found a way into this realm through Ahmanet, who prays to the god and performs rites in his honor, and is thus rewarded with supernatural power. Her body is magically riddled with black, unreadable glyphs, and she’s apparently granted immortality as well (though the years do take a toll on her eventually). Some animals (birds, rats, spiders) seem to do her bidding, and she has the ability to control certain minds (sometimes through spider bites). She’s also able to call on the sand itself—including, apparently, sand grains of it that have been melted into glass. But perhaps her most fearsome ability is her knack for raising folks from the dead, who subsequently serve her as her shambling, zombie-like minions.

We also learn that hundreds of years earlier, some Christian Crusaders found Ahmanet’s crypt and spirited away her magic dagger (given to her by Set), hiding the blade in the statue of an angel (called a reliquary by Jenny) and a magic gem from its pommel in a Crusader grave. We assume that the Crusaders did this because they understood Ahmenet’s nature and wanted to keep a critical source of her power away from her.

Elsewhere, presumably Islamic fighters shoot up and deface ancient artifacts, mimicking the destruction we’ve seen from ISIS fighters. We hear that pharaohs were worshiped as “living gods.” Some scenes take place in old Christian churches and tombs. There’s talk about “angering the gods.”

[Spoiler Warning] Nick eventually gets stabbed by Ahmanet’s magical dagger, which infects him with the spirit of Set. His human side seems to keep the Set side of him at bay while still allowing Nick to use Set’s powers, including resurrecting a couple of people close to him.

SEXUAL CONTENT

Back in ancient Egypt, Ahmanet prays to Set naked: We see her nude form from the back and side in a handful of flashbacks. Even when she wears clothes back then, the robes are fairly gauzy and revealing. A lot of her skin (and sometimes bone and muscle) is visible after she’s mummified, too: When she looks like her younger self, the bandages are wrapped tightly around her in strategic areas, accentuating her figure rather than hiding it. She sometimes straddles her lovers/victims, running her hands down their chests suggestively. She both kisses and licks men.

Nick wakes up in a morgue, naked. (We see him from the side, but his genitals are obscured either by his hands or strategically placed tables.) Nick and Jenny also have a history. They banter suggestively about a the details of a one-night-stand they had in Bagdad. When Jenny accidentally reveals her midriff, Nick ogles her.

VIOLENT CONTENT

Ahmanet wasn’t a gentle woman even when she was just a mortal woman. We see her skirmish with others in the Egyptian desert, knocking men down painfully with poles. She holds a knife to the Pharaoh’s throat (though we don’t see her make the cut that comes next). A baby dies by her hand, too: Again, we don’t see the deed itself, but dark blood sprays tellingly across her contorted face. She’s just about to plunge a dagger into her lover when she’s caught; several darts puncture her neck, and hooks connected to cords pierce her body (though not in a particularly bloody fashion).

Once freed from her coffin, Ahmanet rejuvenates by pressing her lips to the mouths of innocents and literally sucking the life out of them. Her victims morph into mummy-like husks, which then rise and follow her. These creatures—as well as other dead bodies that Ahmanet raises—battle Nick and others. They fling themselves through car windows and swim after folks in water. They’re stubborn opponents, and even dismembering them doesn’t stop their attack. Nick sometimes thwacks off arms or heads or most of their bodies, and they still come. Nick sometimes kicks through their bodies or crushes their heads into billowing dust.

Ahmanet still rumbles, too. Blessed (cursed?) with superhuman strength, she can literally throw people around and smash massive tree limbs into splinters. At one point, she practically breaks Nick’s leg, too. (Nick, perhaps through supernatural means, seems physically fine afterwards.)

A plane crashes. Several people are either sucked out or die in the crash, and we see their bodies in a morgue later. Someone’s stabbed to death. Another man gets shot three times. Still another character, perhaps in an hallucigenic state, is attacked by writhing hordes of rats that cover his body. Someone drowns. Nick has an extended melee with another character.

Dr. Jekyll imprisons Ahmanet for a time: She’s again darted with hooks attached to cords and chained in a large room, where workers apparently inject her body with freezing mercury. “It hurts!” she complains loudly.

Soldiers shoot Ahmanet without effect. Nick and his friend Chris get pinned down during a gunfight. A sandstorm sends cars and busses flying and people scurrying for safety. Explosions go boom. Birds crash through plane windows; one leaves a bloody mark.

CRUDE OR PROFANE LANGUAGE

One s-word and a few other profanities, including “a–,” “b–ch,” “b–tard,” “d–n,” “h—,” “p-ss” and the British profanity “bloody.” God’s name is misused seven times.

DRUG AND ALCOHOL CONTENT

Jenny and Nick spend time in a pub. Nick downs shots and chases them with beer. Other folks are shown drinking beer and other alcoholic beverages.

OTHER NEGATIVE ELEMENTS

Nick and Chris are not archaeologists, but treasure hunters who raid ancient tombs and sell what they find there on the black market. Nick learns about Ahmanet’s tomb, actually, only after stealing a letter from Jenny.

Ahmanet vomits mercury.

CONCLUSION

On one level, you could say that The Mummy is about Nick—a wayward, moral-free treasure hunter who finds, in the end, a certain level of compassion, humanity, love and redemption. He’s asked to make sacrifices. And in time, he develops a willingness to answer that call.

And that’s all great … as far as it goes.

On another level, though—and this is really the level that counts—The Mummy is a mindless exercise in CGI wonder and PG-13 horror. It delivers action sequences strung together with just the barest thread of a plot or even reason. While it presents itself as a standard summer blockbuster (and, indeed, Universal has planned The Mummy as the first of a new franchise of classic monster reboots), it’s both surprisingly sexual and surprisingly frightening. The movie’s muddy spirituality should give many families pause, as well.

Mostly, though, this movie just felt confused. Its internal logic is inconsistent. Scenes show up for really no real reason at all—feeling about as stuffed in there as a walrus in spandex.

There’s no compelling reason why The Mummy should exist at all, really, other than to line Universal’s pockets. Sure, the same could be said for lots of would-be blockbusters, but most still want to tell a reasonably good, or at least sensible, story. You’ll find precious little sense in this flick. Perhaps it should’ve been kept under wraps.

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