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Horror, Mystery 133 min R
What happened to Katie?
The young daughter of a journalist disappears into the desert without a trace—eight years later, the broken family is shocked when she is returned to them, as what should be a joyful reunion turns into a living nightmare.
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Bleak, overwhelming, intimate and contemplative.
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Red Letter Media's Half in the Bag's Blumhouse's Lee Cronin's The Mummy Review
RedLetterMedia · Apr 2026
Lee Cronin's THE MUMMY - Movie Review
Jeremy Jahns · Apr 2026
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Written by TMDB members; each links to the original. Not part of Taste Buds's numbers.
**Feral Folklore, Not Splatterhouse: Lee Cronin Unwraps a New Entity** Don't listen to the lazy internet echo chamber claiming this is just Evil Dead Rise in a tomb. It isn't. Aside from a couple of energetic, stylized camera movements and quick edits that feel like a subtle, affectionate homage to Sam Raimi's Evil Dead 2, this movie is entirely its own entity. Instead of copying his own recent homework, Lee Cronin delivers a completely different kind of monster movie. It is a slow-burn, atmospheric, and genuinely unsettling take on the mythology that ditches the non-stop, hyper-violent splatterhouse energy for deep, creeping dread. It takes real directorial confidence to trade cheap jumpscares for a heavy, ancient family nightmare, and the result is a massive win. It is a refreshing, distinct horror film that proves Cronin has way more tools in his kit than casual fans give him credit for. Absolutely loved it-the perfect solo Saturday night watch.
Read the whole review on TMDBBlum House never disappoints. Lee Cronin’s The Mummy (2026) takes a fascinatingly different route by treating the monster mythos as a slow-burn, atmospheric tragedy. Instead of relying on jump scares, the film builds a heavy, suffocating sense of dread around a grieving family whose returned daughter is clearly no longer human, wrapped in a terrifyingly realistic, decaying state. The movie shines brightest through its phenomenal sound design—every raspy breath and dry, rustling movement amplifies the isolation of its modern desert setting. It hits a few bumps in the middle when trying to tie its intimate story back to broader ancient hieroglyphic lore, and anyone hoping for a high-octane adventure will be disappointed. However, as a grim, psychological exploration of an ancient curse infecting a household, it is a beautifully shot, incredibly memorable piece of horror filmmaking.
Read the whole review on TMDBI had high hopes for this, but boy was I disappointed... Instead of getting Christopher Lee, Boris Karloff or even Arnold Vosloo - we get a modern day "Carrie" with a few bandages and a rehash of the "Azazel" story - only this time with a sarcophagus and lots of rusty chains. We begin when the young daughter of "Charlie" (Jack Reynor) and "Larissa" (Laia Costa) is abducted by someone at the bottom of their garden who has been grooming her with candy bars at their Cairo home. Despite the best efforts of the police, there proves little that can be done and so the family relocate back to the USA and get on with raising their other two children. Then, out of the blue, "Det. Zaki" (May Calamawy) calls to say she has been found after an aeroplane crashed in the desert. Catatonic, the young girl (Natalie Grace) is brought home but swiftly we realise that all is not well and that when things begin to go bump in the night, some malevolence becomes apparent. What could possibly happen next? Well, sadly, there isn't the slightest hint of jeopardy about any of that as the visual effects designers go into overdrive and the writers head back to the pub. There simply isn't anything here that is r
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