As far as real-world parallels to contemporary studio franchising go, if Wonder Woman is Corbyn’s Labour revival — an optimistic, youthful reprieve from what’s come before — then The Mummy, the opening salvo for Universal’s ‘Dark Universe’, is surely Theresa May’s bungled Brexit power grab, a rash, self-deluded project that stutters and shuffles in a mimicry of flesh and blood realness, before succumbing to a fit of shambolic self-immolation. Lustfully eyeing the returns coming in for Disney and Warner Bros’ shared superhero universes, Universal has brought their monster squad properties back from the dead, opened their cheque books to tempt bankable, if fading, stars,…