{"id":1885714,"date":"2026-04-16T13:00:00","date_gmt":"2026-04-16T10:00:00","guid":{"rendered":"https:\/\/analyse.optim.biz\/?p=1885714"},"modified":"2026-04-16T13:00:00","modified_gmt":"2026-04-16T10:00:00","slug":"lee-cronins-the-mummy-review-gore-and-bores-galore","status":"publish","type":"post","link":"https:\/\/analyse.optim.biz\/?p=1885714","title":{"rendered":"‘Lee Cronin’s The Mummy’ review: Gore and bores galore"},"content":{"rendered":"

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‘Lee Cronin’s The Mummy’ review: Gore and bores galore<\/h1>\n
Creepy kids and mummies mix in this underwhelming horror outing.<\/div>\n
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\n \u00a0By\u00a0<\/p>\n
Belen Edwards<\/a><\/p>\n
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\"A<\/p>\n
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Belen Edwards<\/div>\n
Entertainment Reporter<\/div>\n<\/div>\n<\/div>\n<\/div>\n
\n Belen Edwards is an Entertainment Reporter at Mashable. She covers movies and TV with a focus on fantasy and science fiction, adaptations, animation, and more nerdy goodness. She is a member of the Critics Choice Association and the Television Critics Association, as well as a Tomatometer-approved critic.\n <\/div>\n

Read Full Bio<\/a><\/div>\n<\/div>\n<\/div>\n

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\"Natalie<\/p>\n
Natalie Grace in “Lee Cronin’s The Mummy.”<\/span>Credit: Warner Bros. Pictures<\/span><\/div>\n<\/div>\n
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Evil Dead Rise<\/em><\/a>director Lee Cronin brings his trademarks of creepy kids and wild gore to Lee Cronin’s The Mummy<\/em>, with mixed results.<\/p>\n

On the one hand, the gore, when it comes, is spectacular. On the other hand, it’s sandwiched within an underwhelming storyline that never truly lets loose.<\/p>\n

SEE ALSO:<\/span>What’s new to streaming this week? (April 17, 2026)<\/span><\/a><\/div>\n

What’s Lee Cronin’s The Mummy <\/em>about?<\/h2>\n
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\"Natalie<\/div>\n
Natalie Grace in “Lee Cronin’s The Mummy.”<\/span>Credit: Warner Bros. Pictures<\/span><\/div>\n<\/div>\n

Cronin’s take on a mummy story has no prior relationship to other mummy-related films, be that the 1932 Universal Monsters film, the Brendan Fraser and Rachel Weisz franchise (which has a fourth installment incoming), or the 2017 Tom Cruise flop. <\/p>\n

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Instead, it introduces an entirely new mummy tale focused on a bereaved family. Charlie and Larissa Cannon (Jack Reynor and Laia Costa) were once stationed in Cairo for Charlie’s journalism job. While there, their daughter Katie (Emily Mitchell) went missing, kidnapped by a mysterious woman (Hayat Kamille) who lurked near their garden.<\/p>\n

Eight years later, the Cannons have traded the deserts of Egypt for those of Albuquerque, where they live with their children Sebasti\u00e1n (Shylo Molina) and Maud (Billie Roy), as well as Larissa’s mother Carmen (Ver\u00f3nica Falc\u00f3n). Their grief over Katie lingers still. They keep her childhood bedroom intact, preserved in all its pink glory. They also haven’t taken a vacation since her disappearance, too afraid of anything bad happening to their other children.<\/p>\n

SEE ALSO:<\/span>Warring couples keep ‘Beef’ juicy: Season 2 review<\/span><\/a><\/div>\n

However, the Cannons get some miraculous news when Katie (now played by Natalie Grace) shows up alive, having been found in an ancient sarcophagus. It’s evident she’s undergone a heavy amount of trauma in her time away: Her skin is scratched and peeling, her limbs are contorted in a strange rictus, and she’s only able to communicate through a series of clicking teeth and wheezing breaths.<\/p>\n

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Confronted with their daughter’s deteriorated physical condition, Charlie and Larissa are ready to do whatever it takes to help Katie feel safe again. Perhaps that’s why they’re willing to overlook the several perturbing things Katie does, from cavorting through their house’s crawl space to straight-up headbutting Carmen. It’s textbook possession, but Charlie and Larissa’s love for their daughter and relief at having her back cloud any fear they may have of her… up to a certain point. However, that point comes far <\/em>too late in Lee Cronin’s The Mummy<\/em>‘s punishing 135-minute runtime, making the pair seem less like concerned parents and more like classic horror movie idiots who make every bad decision until the movie tells them not to.<\/p>\n

Again, the bereavement does give Charlie and Larissa some <\/em>excuse here. Cronin, who also wrote the film, does a solid job exploring their guilt at Katie’s disappearance, as well as their efforts to establish normalcy even as a supernatural evil wreaks havoc on their house. Yet after a while, their willful ignorance becomes almost comical.<\/p>\n

Lee Cronin’s The Mummy <\/em>is as frustrating as it is gory.<\/h2>\n
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\"Billie<\/div>\n
Billie Roy in “Lee Cronin’s The Mummy.”<\/span>Credit: Warner Bros. Pictures<\/span><\/div>\n<\/div>\n

Despite being presented as a reimagining of The Mummy<\/em>, Lee Cronin’s The Mummy <\/em>is frustratingly formulaic. It draws heavily on creepy child tropes, including some Exorcist<\/em>-level backbends and cursing, twisting them slightly to incorporate some mummy lore. Scenes where skin sloughs off like mummy’s bandages are relentlessly stomach-churning, but other than that, we’ve seen this bag of tricks before.<\/p>\n

The same goes for classic beats of mummy stories, including a trip to an archaeology professor who’s able to unlock most aspects of the film’s central mystery. Far more fascinating is what’s taking place on the ground in Egypt after Katie goes home. There, Detective Zaki (May Calamawy) revisits Katie’s missing persons case, hoping to solve a mystery that she first began looking into eight years ago. Her journey leads to some genuinely tense sequences, to the point that you wish this was more of a detective thriller than an Exorcist <\/em>rehash.<\/p>\n

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