Lee Cronin's The Mummy (2026)

Why is this called The Mummy? Lee Cronin’s version skips the adventure and the treasure hunters and goes straight for The Exorcist, with extra bandages. A girl named Katie is snatched in Cairo, turns up eight years later wrapped in inscribed linen and barely responsive, and her family in Albuquerque slowly realizes something else came home with her. It’s a strong hook, buried under 134 minutes of the same scare on a loop: a creak, a twitch, a jolt, repeat. The movie is far more interested in grossing you out than scaring you, and by the last act it’s exhausting. Jack Reynor is sympathetic as Charlie, a reporter dad who realizes Katie is tapping out messages in Morse code she learned in the Girl Scouts, and that’s the one chilling idea that sticks. May Calamawy gives Detective Dalia real backbone. It made $90.6 million worldwide on a reported $22M. A 3.9 because one great idea can’t carry two hours of noise. $740.97 says you hear the radiator tapping tonight and start decoding it, just in case.

What works: The Morse code idea is genuinely creepy, and Jack Reynor and May Calamawy give the family drama some real feeling.

What doesn’t: At 134 minutes it’s badly padded, repeating the same jolts until the scares turn to boredom, and it leans on gross-out moments instead of dread.

Who it’s for: Horror fans with strong stomachs who liked Evil Dead Rise and don’t mind a slow, heavy possession story.