Although his directorial debut was in 2019, Lee Cronin truly broke into the film space with the latest entry in the Evil Dead franchise, Evil Dead Rise. Not only was the film received well by critics, but was a major box office success, earning nearly $150 million worldwide on a $19 million budget, and becoming the highest grossing film in the franchise. All eyes were on him in terms of what his next project would be, and when he announced via social media that it would be a new rendition of The Mummy, even more anticipation built. Although it once again showcases his trademark style, the film shows that Lee Cronin isn’t a strong enough filmmaker to have his name included in a movie’s title.

Lee Cronin’s The Mummy is a reimagining of the 1932 film. It follows a family whose daughter, Katie, is found after going missing eight years ago. Attempting to reintegrate her into normal life, they discover that this is not the same Katie that they once knew, leading them on a path of violence and paranoia to figure out what happened to her during her eight-year absence.

Lee Cronin perfectly showcased his eye for horrific imagery in Evil Dead Rise, and that once again carries over in Lee Cronin’s The Mummy. The film is unafraid to shy away from body horror, even if the horror involves children. From skin ripping from people’s bodies to teeth pulls, Cronin discloses some jaw-dropping moments in close-ups to fully enhance the horror. Most modern horror films use jump scares to convey fear, and this film’s decision to stray away from that and focus more on body horror made for a far more effective experience. Those who are sensitive to child violence may find some sequences too hard to watch, but taking that risk made this film stand out way more than it otherwise would have.

On a technical level, Lee Cronin’s The Mummy may be Cronin’s best work yet. Despite its graphic nature, the film is gorgeous-looking throughout. From the Egyptian landscapes to the labyrinth-like caves, every shot is littered with artistic merit and beauty. The use of split diopters perfectly captures the characters’ confinement while expressing the film’s massive scale. The film also sounds incredible, blending silence with the loud moments in a shockingly satisfying manner. If this film does anything, it proves that Cronin can handle a large-scale film.

The film has an excellent recipe of elements needed for a successful horror film: stellar practical effects, an eerie setting, and a strong director at the helm. However, the most important element of a strong film is severely lacking: a good script. The idea of a couple coping with the loss of their daughter is a solid foundation for a film, but the overall execution lacks originality. The movie plays out similarly to many supernatural horror films, having an almost beat-for-beat plot as The Exorcist: Believer, making for many disappointing moments in storytelling.

Outside of the family, there is a heavy focus on May Calamawy’s Detective Dalia Zaki, who’s out to discover what happened to Katie and why she’s acting so erratically. Anyone who’s seen a supernatural horror film will find it extremely easy to see where the film goes with this storyline, making sequences with her drag the film to a sluggish pace. While Calamawy delivers a good-enough performance as the detective, her character is almost entirely unnecessary to the movie and pushes what is already a long runtime even longer.

Not only did 30 minutes need to be cut from the movie, but the editing itself is one of the film’s main issues. Scenes unfold in a strange order, cutting to another subplot once a major reveal is made, making the film feel jumbled at times. There are also moments when something horrifying happens, and instead of showing the aftermath, it cuts to later in the day, diminishing all the moments of tension. Editing plays a major role in how effective horror sequences are in a film, but, sadly, for Lee Cronin’s The Mummy, the editing detracts from many moments that should’ve been terrifying.

Lee Cronin’s The Mummy is the definition of a mixed bag; a well-made, yet poorly written retelling of the classic monster movie. Despite some solid moments of tension, too many elements undercut what should’ve been great moviemaking. Lee Cronin still has the juice to make excellent horror, but this was an example that he doesn’t always have a solid hit rate.

Lee Cronin’s The Mummy is now playing in theaters nationwide.

Rating: 5/10

Oscar Prospects:

Best Make-up/Hairstyling