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A teenage girl with mummy issues? The horror craze is about to hit home
Director Lee Cronin unwraps a Sinners-style fright fest with a multi-layered look at family dynamics. Don’t say you weren’t warned.
It’s a pretty cool scene,” says Terence “Tez” Palmer of the moment a teenage girl possessed by an evil spirit crawls across the ceiling and drops into an open coffin containing her recently deceased grandmother. The dead woman’s relatives try desperately to pull her out, but the struggle sends the casket crashing to the floor. “There’s embalming fluid all over the place and the girl’s drinking it,” chuckles Palmer. “Everyone’s screaming and throwing up.”
Forget Fraser, this Mummy is a different, more terrifying, beast
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The classic 1930s Boris Karloff film villain The Mummy has had more than a dozen films made featuring it, but when the 2017 film by this same name nearly bankrupted a film studio, I would have thought The Mummy was dusted.
But Canberra's Lake Tuggeranong College alumnus James Wan has King Midas's touch when it comes to film franchises, with Saw, The Conjuring, Aquaman, Fast and the Furious under his belt, the people with money seem to want to exhume the mummy character once again, as long as Wan and his Saw friends are in control.
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Film Review: Lee Cronin's The Mummy; investigative horror story is unnerving and psychologically potent
Lee Cronin’s The Mummy is not the film you might be expecting – and that’s precisely its strength. Rather than leaning into the sweeping, action-adventure bombast typically associated with the title, Lee Cronin pivots sharply into something far more intimate and unnerving: a slow-burn, investigative horror story rooted in grief, absence, and the uncanny terror of something returned… wrong.
The premise is deceptively simple. When young Katie (Emily Mitchell), the daughter of Charlie Cannon (Jack Reynor), a journalist based in Cairo, vanishes into the desert without a trace, the emotional devastation fractures a family beyond repair. Eight years later, her sudden reappearance should signal relief, even joy – but Cronin is far more interested in the psychological fallout than catharsis. What unfolds instead is a deeply unsettling portrait of a family trying to reconcile memory with the reality standing in front of them.
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