When The Mummy was released in 1999 it was the first rip-roaring archaeological adventure story to hit screens in years; the first since Raiders of the Lost Ark and definitely the first to be worth two hours of one's life. It was silly fun with an appealing lead, exotic locations, and a classic historical love story to hang the whole thing on. Then came the sequel, with too much CGI, too little story, and a completely unconvincing animated Scorpion King: Anything created by Ray Harryhausen in the 50s was more believable. With the producers running out of mummies (and original director Stephen Sommers out of the picture except as producer), Rob Cohen (xXx, Stealth) and company have moved on to Asia and the tombs of the Terracotta Warriors (just in time to cash in on China fever overseas). They may not be mummies, officially, but at least they're in a tomb.

The story picks up with teenaged scion Alex O'Connell (Luke Ford) unwittingly awakening the Emperor Han (Jet Li) and then not being able to deal with the chaos he's unleashed. Alex naturally turns to his semi-retired parents, explorer Rick (Brendan Fraser) and archaeologist Evelyn (now played by Maria Bello) for help. They agree, largely because they're intimately familiar with the undead, and it's a nice change of pace from Egypt. Along for the ride is her money-grubbing, comic relief brother Jonathan (John Hannah), and the four find themselves in China doing battle with the resurrected shapeshifter (!) emperor, still bent on world domination. Han's also a little miffed at being double-crossed by Zi Yuan (Michelle Yeoh) all those millennia ago due to what boils down to a lovers' spat. Cue the requisite trek through the Himalayas, an encounter with the Abominable Snowman, also known as the Yeti, and a boatload of martial arts sequences - just in case you forgot you were in China - and of course some vaguely Eastern mysticism/philosophy.

The Mummy franchise is one that's been scoffed at more than a few times. The original film was a remake (of a classic no less), and the second was an irritating exercise in excess that simply got irritating after an hour. With a fourth Indiana Jones film being released earlier in the summer, the mood may be right again for some ancient world silliness. With The Dark Knight tearing up box office records almost everywhere, moviegoers could do worse than Tomb of the Dragon Emperor as an alternative. It is a marked improvement on the second film, and director Cohen doesn't disappoint audiences looking for some mindless wham-bam action and cool creatures. The film may not be Raiders redux but it's fun - and vastly superior to Sahara. And thankfully, the effects this time around don't completely distract from the narrative (a major fault of The Mummy Returns).

Which isn't to say it doesn't have its problems. Why Weisz was replaced instead of simply written out (hey, it's been done before) and Ford has been lifted above supporting character status (other than for the obvious appeal to the tween set) are mysteries. Bello (A History of Violence), normally a compelling actress, is merely functional, and Ford lacks Fraser's unique screen charm.

Which brings up the main reasons - aside from action - to watch the film in the first place: The main cast. Fraser has been relegated to supporting roles in small art films for the past few years, and it's a pleasure to see his undeniable charisma in a lead role again. The dialog may be corny (some of the one-liners fall flat), but he manages to make it less of a groaner than many actors of his generation would have. Of particular interest in Hong Kong is going to be the caravan of local stars featured in the film. Aside from Li, who displays far more spunk than he has in any of his other American films or this past spring's The Forbidden Kingdom, Yeoh turns in a performance of campy grace (and looks absolutely gorgeous doing it) as the sorceress that confines Han to his limbo, Isabella Leong as Lin, the (no surprise here) love interest for Alex, and Anthony Wong Chau-sang as General Yang, Han's right hand. Really, any movie with Anthony Wong in it can't be that bad.

Simon Duggan's photography and Nigel Phelps' (the equally dusty Troy) production design go a long way to making Tomb of the Dragon Emperor suitably epic and sweeping; they've managed to capture the vastness of China reasonably well in what has been labeled the biggest production ever to happen in China (much of it in the Shanghai Studios). Throw in some grandiose set pieces and complicated fight sequences, and you've got the makings of a respectable, if cookie-cutter, late summer trifle. And really, what more could you ask for in forty degrees?

The Mummy: Tomb of the Dragon Emperor opens in Hong Kong today.

(HK Edition 07/31/2008 page4)