Lee Cronin's The Mummy

2026133 mins5 reviews7 providers

Horror Mystery

Ratings & Highlights

IMDb

6.5/10

Rotten Tomatoes

48/100

TMDB Popularity

Movie Facts

Date Released

Wed Apr 15 2026

Runtime

133 mins

Box Office

NaN

Popularity

Actors

Jack Reynor, Laia Costa, May Calamawy

Director

Lee Cronin

Writers

Lee Cronin

Streaming Providers

Amazon VideoApple TV StoreFandango At Home

Overview

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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Trailer

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Reviews

Chris Sawin

Fri Apr 17 2026

Lee Cronin’s The Mummy isn’t scary or memorable; it’s raunchy exploitation and over-orchestrated expired cheese. It is a horror film that reeks of nothing but ridiculousness. The sad part is there’s a decent enough concept buried somewhere within this vomit-drenched monstrosity and a killer ambiance that is borderline spine-tingling. https://bit.ly/MummyBarf

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CinemaSerf

Fri Apr 24 2026

I 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 remotely scary nor that does any justice to the ancient Egyptian mythology that could have better underpinned this mystery had Lee Cronin actually taken some trouble to build on that richness instead of sticking with the typical family panicky melodrama, albeit entertainingly augmented with some modern-day false teeth. There is the slightest of twists at the denouement that did make me smile - until I realised that might also signal sequel, and then I left to go home and watch a film that actually evokes something of the eerie and the mystical from this ancient culture. At least she wasn't a doll!

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Sierbahnn

Fri May 08 2026

We can all just say that this is Evil Dead, right? I mean, it is, in everything but name, with some flimsy other story tacked on over it. It is shot like Evil Dead, its dialogue fits the Evil Dead, the narrative is Evil Dead. It just happens to not be Evil Dead. And it is all the worse for it. Because it is NOT Evil Dead, and instead tries to say something else, but gets bogged down in its format, and becomes this bland, uninteresting goop. It is proficient, sure, but it is almost desperate, and it is not engaging, and certainly not fun.

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Daniel

Tue May 19 2026

Partially entertaining possession flick. Going into it blind, I was expecting more focus on the mummy aspect of things, but that turned out to simply be a surface-level harness around a possession story, that is ditched as fast as it appeared. The plot gets lost in itself towards the 2nd half of the movie and it ends up wishy washing around with classic possession tropes and inevitably ends up falling flat. Overall I was entertained for a good bit, but also bored and annoyed for a significant portion of the movie.

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Dean

Sat May 23 2026

Blum 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.

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