Byeddywaraich, writer at Creators.co
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Night at the Museum, and after itself exhibiting a bit more life with a peppy 2009 sequel, the franchise is seriously showing its age with what is purported to be its final instalment.

Instead it plays like a contractual obligation with original director Shawn Levy, Ben Stiller and company (including Robin Williams in his final screen performance) content to simply reprise the funnier bits from the previous two movies.

Despite relocating across the pond to the esteemed British Museum, the creaky Night at the Museum: Secret of the Tomb fails to capitalize on the comic potential provided by that change of venue.

Instead it plays like a contractual obligation with original director Shawn Levy, Ben Stiller and company (including Robin Williams in his final screen performance) content to simply reprise the funnier bits from the previous two movies.

Read More Ben Stiller and Robin Williams Face Demons in 'Night at the Museum: Secret of the Tomb' Poster

While the dispiritingly dull, poorly-paced upshot will probably still unearth untold riches for 20th Century Fox (the first two Museum outings earned some $988 million between them), it’s still a shame the franchise couldn’t have gone out on a more energetic note.

After an Indiana Jones-style prologue set in 1938, the action moves to present day, where recently-promoted director of nighttime operations Larry Daley (Stiller) discovers those life-like exhibits have developed a disturbing glitch.

Tracing the cause to the Ahkmenrah’s (Rami Malek) rapidly corroding golden tablet, Daley makes a pilgrimage to London, accompanied by his son Nicky (with Skyler Gisondo taking over from Jake Cherry) to confer with Ahkmenrah’s dad (the always welcome Ben Kingsley).

But even with added attractions Sir Lancelot (Dan Stevens), Rebel Wilson (as a bubbly security guard) and a bunch of cameos, including Hugh Jackman and Andrea Martin, the film still feels like a tired relic.

There’s also an undeniable element of melancholy in seeing Williams (reprising his Teddy Roosevelt) in his swan song, and even though the script by David Guion and Michael Handelman (Dinner for Schmucks) doesn’t give him much to do, he looks tired throughout.

The film also marks the penultimate appearance of the late Mickey Rooney, briefly reunited here along with Dick Van Dyke and Ernest Tubbs.

Even when Stiller and director Levy attempt to do something different here, like having Stiller also play the part of his prehistoric ancestor, the clearly improvised interplay fails to match some of the welcome goofy irreverence provided by Hank Azaria and Jonah Hill back at the Smithsonian.

SOURCE : HollywoodReporter

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