Walking into the cinema with a tub of popcorn in hand, eager to see “Lee Cronin’s The Mummy,” you might find yourself pondering a significant question: Who exactly is Lee Cronin? Alongside that, you may wonder about the absence of Brendan Fraser, the connections (or lack thereof) with the 1999 version of “The Mummy,” and the failed 2017 attempt to revive Universal’s Dark Universe. How did this Warner Bros. production come about without ties to Universal’s previous “Mummy” series or the upcoming reboot?
Lee Cronin, the film’s writer-director, is the man behind the camera, but for now, let’s set aside the backstage complexities and delve into the chaotic scenes Cronin presents on screen. The movie immerses viewers in a tale involving an Egyptian family initially full of joy, except for a stern mother exhibiting peculiar behavior towards her children, coupled with eerie occurrences like their pet bird bleeding unexpectedly.
As the story progresses, we are introduced to an American family residing in Egypt, featuring Charlie Cannon, an aspiring journalist striving for a better life for his family in New York. His wife, Larissa, his children, Sebastián and Katie, play pivotal roles as the narrative unfolds amidst a mysterious disappearance and subsequent events.
The plot navigates through a labyrinth of human trafficking, ancient curses, and a reemerged Katie, now displaying unsettling behaviors and a fascination with the macabre. This sets the stage for a possession-driven storyline intertwined with elements of Egyptian mummy lore and strained familial dynamics.
Despite initial promises of a unique take on the classic “Mummy” theme, Lee Cronin’s vision falls short of expectations, devolving into a formulaic possession narrative with sporadic nods to themes like family loyalty and betrayal. The film’s disjointed execution and lack of narrative coherence mirror its troubled production history.
Originally envisioned as a departure from conventional “Mummy” movies, Cronin’s project strays from Universal’s monster movie legacy, instead opting for a standalone approach. While rumors suggest ties to Universal’s past endeavors, the film remains detached from the studio’s established monster franchise, leading to confusion among audiences anticipating a familiar narrative.
In a cinematic landscape teeming with horror clichés and disjointed storytelling, “Lee Cronin’s The Mummy” struggles to carve a distinct identity, relying on shock value and graphic imagery rather than cohesive storytelling. Despite attempts to infuse familial horror elements akin to acclaimed works like “Sinister” or “Hereditary,” the film falters in delivering a compelling and coherent narrative.
Ultimately, Cronin’s directorial venture falls short of its potential, offering a grotesque yet disjointed portrayal that fails to resonate with audiences seeking a nuanced and engaging horror experience.
