Article #3336

Irish director Lee Cronin follows his Evil Dead reboot with what feels like another Evil Dead film but without a real sense of humour

Warner Bros would prefer that you referred to their new hard R take on The Mummy as Lee Cronin’s The Mummy, a bafflingly grandiose insistence that has earned some deserved ridicule online over the past few weeks. It’s partly to separate it from Universal’s upcoming return to the 90s-00s franchise (Blumhouse, the horror hit-makers behind the film, on X posted: “BRENDAN FRASER IS NOT IN LEE CRONIN’S THE MUMMY” last week) as well as what those films represented – safe, family-friendly and easily theme park-able. It’s also an attempt to capitalise on our pop auteur moment, one that Warners has helped to create with Ryan Coogler and Zach Cregger both front and centre of the campaigns for their hit genre films last year (The Mummy’s trailer notably heralds it as “from the studio who brought you Weapons” as if that were to mean all that much).

While it is refreshing to see a studio focus on pushing a director over an actor (the last attempt at a Mummy movie relied on the star power of Tom Cruise, a decision that couldn’t stop the film from losing a considerable amount of money), it also speaks to an unearned indulgence and an expedited crowning of a genius before one has really had the chance to prove oneself (a lose-lose of-the-moment trend we need to move away from and one that, to his credit, Cronin was unsure about being a part of). Cronin, an Irish film-maker who has made just two films to date (The Hole in the Ground and Evil Dead Rise), is an undeniable visual talent but his Mummy is also absurdly, watch-checkingly overlong (134 minutes is an unacceptable length for a genre film as thin as this), tonally unsure and, fatally, not all that scary. It’s also, for something so clearly attributed to just one person, a film so deeply influenced by the work of many, many others. It might not feel like a Mummy movie you’ve seen before but it’ll feel like a great deal else.