It’s easy to pile on “Lee Cronin’s The Mummy” just off the title alone. They’re slapping Lee Cronin’s name on the title of this film as if he’s a household name. Does a single general audience goer even know who he is? Does your average co-worker who watches basic entertainment know who he is? I would doubt it, but it’s the predicament they face since Brendan Fraser’s fourth The Mummy film is in production, so you can’t be too confusing. “Lee Cronin’s The Mummy”, however, isn’t adding anything new with this entry, although just because it doesn’t bring anything new to the table doesn’t make it not worthwhile.

This film follows the usual three-act structure of any type of horror flick you are so used to. As much as I don’t wish to compare it to Evil Dead Rise, it’s just that again. “Lee Cronin’s The Mummy” feels like a safe play on Cronin’s part, having come off two successful films prior. An increased budget and studio backing this time around certainly is a way to add pressure. Some filmmakers successfully integrate, while others find their footing, which feels more like the case here. As much as I find enjoyment and entertainment from this film, there isn’t anything that stands out by the end to deliver anything signature. I think what I also find interesting about the film is that I understand some of the legitimate criticisms others have, but for me, seeing basically a lesser Evil Dead Rise still rocks.

Stripping “Lee Cronin’s The Mummy” down scene by scene starts to erode the extravagant horror and ideas presented to the audience. In ways, the plot, the characters, and set locations become nonsensical or just exaggerated for the sake of moving the plot forward. I don’t hate the characters, yet I don’t really care for them. Most of them don’t achieve any sort of arc or form of redemption to make you feel satisfied. In some facet, however, all the issues never made me hate the film or what Lee Cronin was presenting for the most part. Cronin is so great at making his films mean and subjecting his characters to some of the harshest aspects imaginable, whether they are kids or adults. Occasionally, I find the harshness toward kids to be surprising for such wide studio releases like these, given how soft general audiences typically are, but it always has been something in film, and, more recently, a growing trend, it feels like, with films like Speak No Evil, Bring Her Back, and so on, with the straight evil brutality.

Compared to Speak No Evil or Bring Her Back, which one might argue are better films, the level of dehumanization and miserable actions are far less enjoyable for me. “Lee Cronin’s The Mummy” is nowhere near perfect, and I might enjoy it less upon rewatch with how many flaws it has; however, it consistently grabbed me and drew me in for most of the runtime. The pure chaos Cronin delivers through the second half of the film creates unyielding tension and mystique as characters come together to combat the evil. The film, to me, feels like an overstylized video game, giving the viewer moments you would likely never see outside of a video game in order to deliver constant thrills.

I suppose “Lee Cronin’s The Mummy” is contingent on how you approach horror films and what leniency you put up with. Horror is a classic genre built on poor decision-making, so when it’s present, it’s not as annoying after being numb to it. It’s not an excuse for horror, but whatever it takes to get to that next brutal death is so worth it. Can I understand why this film isn’t viewed highly? For sure. But for me, it delivers upon its parts well enough to satisfy my tastes.