Lee Cronin's The Mummy Divides Critics With Mixed Reviews

Lee Cronin’s The Mummy, set to hit theaters on April 17, 2026, has stirred up a whirlwind of opinions among critics. Straying far from the traditional Universal Monsters line-up and previous iterations of the franchise, the film tells a haunting tale of a journalist whose daughter mysteriously disappears in Egypt, only to reappear eight years later in Albuquerque. The initial reviews reveal a divided reception, with some applauding its gory thrills and visual style, and others criticizing its derivative nature.

Unlike the classic films from the 1930s and '40s, the Hammer films of the 1960s, or the early 2000s adventures featuring Brendan Fraser and Rachel Weisz, Cronin's version is a standalone narrative that focuses on supernatural horror rather than traditional mummy mythology. Critics have noted that the film features a mummy, bandages, and even a sarcophagus, but these elements serve more as window dressing than central components of the story. "There’s a mummy here. There are bandages. There is a sarcophagus… But nobody has to fake being unable to evade a creature that moves at the pace of molasses down a gentle slope," quipped Donald Clarke of the *Irish Times*.

Many reviews suggest that the film aligns more closely with modern horror classics such as The Exorcist and Hereditary, rather than the campy thrills of earlier mummy films. "Cronin’s latest is uncannily similar to his last movie, Evil Dead Rise. Both are about families ripped apart — literally and figuratively — after a loved one gets possessed by a demon. And both films are gross as hell," wrote William Bibbiani from *TheWrap*. The film's narrative revolves around a girl, Katie, who goes missing during a sandstorm in Egypt, a traumatic event that haunts her family for eight years until she is found alive but in a disfigured, catatonic state following a plane crash.

Critics have pointed out that the film's pacing is inconsistent, with a 133-minute runtime that often feels sluggish. James Berardinelli, reviewing for *ReelViews*, remarked, "Perhaps the kindest thing to say about Lee Cronin's The Mummy is that it's not the worst movie to bear the words 'The Mummy' in the title." He noted that the film struggles to tell its story effectively, with several plot hiccups indicating potential scenes were inelegantly removed or poorly arranged during editing. The film's prologue, which involves a couple discovering an embalmed body in a sarcophagus, sets a tone that doesn’t flow smoothly into the main story of the Cannon family.

As the film progresses, the audience learns that Katie’s condition is not merely a result of her traumatic experience but is instead tied to a supernatural possession. Critics have expressed frustration with the characters' illogical decisions, a common trope in horror films that feels particularly glaring here. "How could the family of a severely traumatized girl allow her to 'recuperate' at home without medical supervision or concern for the ramifications of her violent outbursts?" Berardinelli questioned.

On the acting front, the performances have received mixed reviews. Critics praised the emotional grounding provided by Jack Reynor and Laia Costa, who play Katie's parents, Charlie and Larissa. Clarke noted that they give their characters a believable sense of parental desperation, keeping the supernatural elements tethered to something human. May Calamawy also received commendation for her role as Detective Dalia Zaki, the investigator obsessed with solving Katie's cold case. "Her Detective Dalia Zaki deserves her own weekly TV procedural," Berardinelli suggested. In stark comparison, some performances were criticized as lacking depth, with characters appearing dim-witted and unconvincing at times.

The film's visual style has also been a point of contention. Critics have acknowledged Cronin's flair for creating a visually engaging experience, with cinematographer Dave Garbett employing deep shadows and eerie compositions that contribute to the film's unsettling atmosphere. "It looks great, and Cronin is a gifted stylist," noted Kevin Maher from *The Times (UK)*. Yet, some reviewers felt that the visual elements could not compensate for the narrative flaws. "Cronin gracelessly piles on new ideas and images with each new scene, never effectively building up to the next big jolt," said Simon Abrams from *AV Club*.

As for the film's music, Stephen McKeon’s score has been described as both engaging and atmospheric, enhancing the tension without overwhelming the quieter moments. Critics noted that the soundtrack plays a key role in tightening the atmosphere, especially during suspenseful scenes where characters sense something ominous lurking just out of sight.

In a broader sense, the film's reception reflects a growing trend in horror cinema, where filmmakers attempt to redefine traditional narratives and explore psychological themes alongside supernatural elements. Cronin’s approach, which emphasizes gore and visceral horror, has been both praised and critiqued. Bibbiani stated, "Cronin has an uncanny knack for human mutilation, which would probably be a bad thing in any other contest, but if you’re making gross-out horror movies, it’s practically a requirement." Yet, others have warned that the film’s reliance on shock value may not be enough to secure its place as a memorable entry in the genre.

The final verdict on Lee Cronin's The Mummy remains uncertain as it prepares for its theatrical debut. The film's attempt to carve out a new identity apart from its predecessors has sparked debate among critics and audiences alike. With its blend of supernatural horror and family drama, it seeks to engage viewers on multiple levels, yet the execution has left many questioning its effectiveness. As the film nears release, how general audiences respond to Cronin's ambitious but flawed vision.