Walking into the theater with a tub of popcorn, anticipating Lee Cronin’s The Mummy, you might find yourself pondering a significant question: “Who is Lee Cronin?” Alongside this query, you may wonder about the absence of Brendan Fraser, the connection (if any) to the 1999 version of The Mummy, and how this Warner Bros. production came to be without ties to Universal’s previous Mummy films.
Lee Cronin serves as both the writer and director of the movie, but let’s set aside the backstage complications for now and delve into the chaotic narrative that unfolds on screen. The plot kicks off by introducing an Egyptian family, featuring a joyous atmosphere tainted by a mother’s peculiar hostility towards her children and a pet bird exhibiting unsettling behavior.
However, the focus soon shifts to an American family living in Egypt, led by aspiring journalist Charlie Cannon, determined to secure a better future for his loved ones, including his pregnant wife Larissa and their children. Amidst a sudden disappearance during a dust storm, Detective Dalia Zaki is tasked with locating the missing family member, setting the stage for a tale that spans years and introduces a host of new characters.
The story evolves into a complicated web involving human trafficking, ancient curses, and a mysterious sarcophagus, leading to the return of a traumatized Katie with eerie behaviors and a penchant for creepy crawlies. This sets the stage for a possession-themed narrative intertwined with elements of Egyptian mummy lore and faint undertones of familial dynamics.
Despite initial claims of uniqueness by Cronin, the film’s ties to the broader realm of monster movies, particularly Universal’s historic monster legacy, remain ambiguous. The production’s divergence from the traditional Mummy franchise and the concurrent reboot helmed by Universal with Brendan Fraser further adds to the perplexity surrounding Cronin’s creation.
Speculations suggest that the movie underwent significant revisions following poor test audience feedback, resulting in a disjointed blend of possession horror and Egyptian culture motifs. However, Cronin refutes these claims, asserting that the final product aligns with his original vision, despite its shortcomings in execution and narrative coherence.
As the movie unfolds, it descends into a mishmash of horror clichés, gratuitous gore, and uncomfortable themes, failing to deliver a compelling exploration of familial terror akin to acclaimed horror works. While aiming to provoke shock and revulsion, Lee Cronin’s The Mummy falls short of leaving a lasting impact beyond its visceral, albeit disjointed, presentation.