Lee Cronin's The Mummy Chases Evil Dead And Buries Its Own Identity

Alright, so let’s talk about Lee Cronin’s new take on The Mummy. If you were expecting something in line with Brendan Fraser’s beloved, big adventure series—or even just a solid reboot—prepare for confusion. We’re in that weird space where a studio’s cranking out a new Mummy flick while also trying to get another Fraser follow-up going. Honestly, what are we even doing here? Blumhouse slapped their name on it, but at this point, it might as well be called Evil Dead: Egypt—because, structurally and stylistically, this thing is desperately obsessed with Sam Raimi’s playbook, to the point where it basically becomes a knockoff.

The Setup: Classic Mummy, Modern Problems

Here’s what the plot boils down to: A journalist’s young daughter vanishes in the Egyptian desert—gone, no trace, just heartbreak for her family. Fast-forward eight years, and out of nowhere, she returns. Happy ending, right? Of course not. Instead, this family reunion is pure horror territory, and the joy quickly spirals into everybody’s worst nightmare. Think haunted house with a desert twist.

Trying Way Too Hard to Be Evil Dead

To be fair, The Mummy franchise has been around forever and has seen just about every spin imaginable. But here’s the issue: this new one abandons originality completely, mostly in a failed attempt to mash Evil Dead-style mayhem with Egyptian lore. All the stuff with the possessed daughter plays out almost beat-for-beat like a Deadite—complete with twitchy body language, weird crude gags, and that kind of chaotic humor/horror blend. There were moments I half-expected Bruce Campbell’s Ash to burst through the door brandishing a chainsaw. That’s how on-the-nose it all is.

Let’s Talk Good Performances (and the Not-So-Good Everything Else)

It’s not a total write-off, though. Jack Reynor, May Calamawy, and Natalie Grace all do decent work in their roles, pushing through the script’s indecision (it never figures out what it wants to be). The film flips between two threads: the traumatized family dealing with their demonic daughter, and the Egyptian detective digging into what actually happened. The moments set in Egypt, where we get a taste of ancient evil, are honestly the most interesting bit. It’s a shame those threads get sidelined in favor of 'Deadite Family Drama'.

Where This Mummy Goes Wrong (and Keeps Going)

• Inconsistent Powers: The mummy’s supernatural abilities are all over the map, changing whenever the plot calls for 'something spooky' instead of sticking to clear rules.
• Visual Effects Don't Cut It: There’s a scorpion scene that could’ve been cool, except the execution screams 'cheap CGI'. Missed opportunity for practical effects, which would’ve helped.
• Pacing: The runtime clocks in at a chunky 2 hours and 13 minutes. It drags in parts, but I’ll give it this: it’s never a complete snoozefest. Still, a tighter edit could've knocked off a good chunk and made things land better.
• Third-Act CGI: Everything in the final stretch goes full generic—and not in a fun “popcorn horror” way, but in the “wow this really is a Blumhouse movie” way.

Cinematography Is the Real Standout

If there’s one thing I can’t complain about, it’s the look of the movie. David Garbett’s cinematography nails some moody, haunted house-style darkness, especially when the action moves indoors. There’s atmosphere to spare. But, there’s a catch: Cronin is obsessed—borderline addicted—to split diopter shots. It gets distracting fast. Seriously, you’ll lose count before the third act. Tone it down, please.

Final Thoughts: Familiar, Overcooked, and a Bit Annoying

So here’s where I land: The Mummy could’ve been interesting if it picked a lane—either commit to the ancient Egyptian horror angle or fully embrace the demon-possession mayhem. Instead, it does neither and comes off feeling like a watered-down Evil Dead cover band. The family drama is generic, the special effects are inconsistent, and style takes heavy priority over any real substance.

If you want something shiny and atmospheric, you’ll get that. If you want something that doesn’t just borrow from better movies, look elsewhere.

'By the end, I was quite annoyed, and that carried over to this review.'

The Mummy opens in theaters on April 17, 2026. Just don’t go in expecting any fresh wrappings.