He’s wide-eyed and wily and the way the characters react to him is a real joy (Coogan’s Roman soldier is particularly smitten). This character is playing on some of the same notes from the first film (that the wax facsimiles think that they’re the real historical/mythological characters), but Stevens somehow makes the concept seem fresh. Of the new characters, Dan Stevens makes quite an impression as a delusional Lancelot who thinks that the magical tablet could be his Holy Grail. The entire enterprise comes across as bloated, lazy and a supreme waste of a small legion of comedy greats. And the filmmakers (once again led by Levy) seem wholly uninterested in messing with the formula that has proven so successful in the past in place of innovation there are a bunch of stale gags and halfhearted attempts at introducing new characters. The biggest problem with “Night at the Museum: Secret of the Tomb,” is that the initial concept, while somewhat wondrous the first time around, has, like the tablet, lost its magic.
Night of the museum 3 cast movie#
That’s literally the entire plot, one that is so threadbare that the main thrust of the movie is interrupted for what seems like 45 minutes when the diminutive statue characters (played by Wilson and Coogan) get lost down a heating duct and the rest of the characters try to locate them. This leads the gang, for reasons more having to do with tax incentives than plot mechanics, to the British Museum, where young mummy Ahkmenrah ( Rami Malek) can be reunited with his father Merenkahre ( Ben Kingsley), and get to the bottom of what is going on with this magical tablet. It turns out their bad behavior is because a corrosive agent is warping the tablet, and, should this moss-like growth (it turns from green to blue for no reason at all) cover the tablet, then the museum inhabitants will never spring to life again. Not only is the idea that these reanimated characters are commonplace an interesting idea, but the fact that they could turn from their personas as Stiller’s cuddly buddies to something more sinister is intriguing. After an overlong prologue set in Egypt in 1938, the film engages in a gleefully chaotic sequence where the exhibits go haywire during a big benefit at the planetarium.
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