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.
Lee Cronin has emerged as a prominent Irish filmmaker, beginning his journey by creating short films—a typical route for aspiring directors to develop their craft before taking on full-length features. His feature-film directorial debut, “The Hole in the Ground,” didn’t quite convince me of his talent, but his next effort, “Evil Dead Rise,” showed a marked improvement in both assurance and execution. Cronin made history by directing the first EVIL DEAD installment that wasn’t directly connected to the original trilogy nor simply a remake. With “Lee Cronin’s The Mummy,” he further establishes himself as a filmmaker worth watching.
This new film confirms that his success with “Evil Dead Rise” wasn’t coincidental. Cronin’s knack for gripping audiences, generating unease, and maintaining a sustained sense of dread is present throughout the film. His hallmark as a director—raw, graphic, and often challenging to watch—leans heavily on shocking visuals and gruesome effects. They’re rendered with such authenticity that viewers find themselves unable to look away, even when the scenes are hard to stomach. Cronin’s approach of endangering families, previously seen in “Evil Dead Rise,” is even more effective here. By focusing the story on a devoted family, he heightens the viewer’s emotional involvement, making the chaos that follows even more distressing. With Cronin at the helm, no one—regardless of age—is safe from the film’s horrors.
The plot centers on Charlie and Larissa Cannon (Jack Reynor and Laia Costa), who reside in Egypt with their children, Sebastián and Katie. Charlie is a journalist, while Larissa works as a nurse. Their lives are thrown into turmoil when their youngest, Katie, disappears. Charlie is convinced he saw someone running off with her, but a sudden sandstorm halted his chase. The authorities, when notified, suspect human trafficking but lack substantial proof.
Eight years later, the Cannons have settled in Albuquerque, New Mexico. Though life has gone on, the hope of learning what happened to Katie has never faded. Out of nowhere, they receive word that Katie has been located. She was discovered inside an ancient sarcophagus, mummified and severely malnourished. The family reunion is both joyous and deeply traumatic, but none of them realize a much darker presence has entered their lives.
Katie’s return is far from normal. Her aggressive episodes, twisted movements, and constant grinding of teeth unsettle everyone at home. Her siblings—especially Maud, who was born after Katie vanished—find it difficult to connect with her. Soon, strange events begin to unfold. Charlie hears from Dalia Zaki (May Calamawy), the detective who handled the original case in Egypt. She explains that Katie’s kidnapping was related to an ancient ceremony involving the Nazmaranian, a sinister spirit that corrupts its hosts on both a physical and mental level. The entity’s method of possession is reminiscent of both demonic takeover and the spread of an infectious disease. When Charlie reveals that Maud and Sebastián are now showing similar disturbing symptoms, Dalia realizes the Nazmaranian is abandoning Katie and moving to new victims within the family. She rushes to help, but the situation may already be out of control.
It’s important to emphasize that this version of “The Mummy” has nothing in common with earlier movie adaptations. There are no references to the Brendan Fraser adventures or the misfired Tom Cruise reboot from 2017. Instead, “Lee Cronin’s The Mummy” is a pure horror film, pushing its R-rating with scenes of transformation, mutilation, and unyielding gore. Fans of the EVIL DEAD series, especially the 2013 reboot and “Evil Dead Rise,” will feel right at home.
A defining trait of Cronin’s horror storytelling is his unwillingness to protect any character, including children, from the terrors at hand. Where the genre often spares the youngest from harm, Cronin’s approach is unflinching—Katie and her siblings face the same relentless dread. The performances from the young cast are impressive, with Laia Costa’s portrayal of the mother standing out; her embodiment of regret and strength provides an emotional anchor that contrasts well with Jack Reynor’s more understated role.
In the end, “Lee Cronin’s The Mummy” is designed for fans who appreciate uncompromising horror. It doesn’t deliver lighthearted thrills or adventure—those looking for that might prefer the Brendan Fraser films. Instead, Cronin presents a tightly woven, suspense-heavy, and fearlessly graphic horror experience. There’s one moment involving toenail clippers that had me wincing in anticipation—and the aftermath—well, I’ll leave that to you.
In Theaters Friday, April 17th
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