８年前エジプトで失踪した少女が、変わり果てた姿で見つかった― 彼女にいったい何が起きたのか？ 空白の8年間の真相に近づいた時、エジプトのある呪われた土地にまつわる、身の毛もよだつ、恐ろしい秘密が明らかになる。
製作費: $22,000,000 (33億円)
興行収入: $90,352,113 (136億円)
推定収支: $68,352,113 (103億円)
※製作費・興行収入はTMDBのデータを参照しています。収支は(興行収入 - 製作費)で算出したFindKey独自の推定値であり、広告宣伝費や諸経費は含まれません (1ドル=150円換算)。
監督: リー・クローニン
脚本: リー・クローニン
音楽: Stephen McKeon
制作: ジェームズ・ワン / ジェイソン・ブラム / マイケル・クリアー
撮影監督: Dave Garbett
制作会社: Atomic Monster / Blumhouse Productions / New Line Cinema / Domain Entertainment / Wicked/Good
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
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!
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.
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.
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.
