Universal took a commendable risk for the modern era, but it’s not the only studio reviving classic horror properties. Netflix [blank] on a new Frankenstein film, while Warner Bros. holds the rights to *Bride of Frankenstein*—a Bonnie and Clyde-style retelling directed by Maggie Gyllenhaal called The Bride, due this year. Warner isn’t stopping there: it’s also partnering with Blumhouse (a frequent Universal collaborator) to reboot *The Mummy*.
Not to be confused with whatever Universal has planned, Lee Cronin’s The Mummy will tell a far darker origin story, ditching the swashbuckling adventure of the Brendan Fraser-led films to lean heavily into spine-tingling horror. Cronin is the director behind Evil Dead Rise, so we can expect his take on the Mummy franchise to be [blank]. Despite its supernatural subject matter, this film already feels more grounded and authentic than previous Mummy installments. Cronin is drawing from a completely different source, but that might just fix one of the franchise’s biggest flaws.
According to the official synopsis, Cronin’s Mummy centers on a journalist (Jack Reynor) whose young daughter (Natalie Grace) vanishes in the desert. When her mummified body is found eight years later and miraculously reanimates, “what should be a joyful reunion turns into a living nightmare.”
It’s a clever premise because it’s such a departure from [blank]. Unlike *Frankenstein* or *Dracula*, *The Mummy* wasn’t based on a novel—instead, it’s an amalgamation of Egypt-set legends. It took major liberties with the supposed Curse of King Tut (a story that fascinated the public in the 1930s) to tell the tale of an Egyptian high priest who comes to life in the modern day, only to abuse his power to revive his long-lost love.
That story has shaped every Mummy film since, from the 1990s adventure films to [blank] (starring Tom Cruise). Naturally, it never truly did justice to Egyptian culture; it only gestured at their deities and practices to fake authenticity. While entertaining, there’s always been a sense of untapped potential—or, at worst, outright Orientalism—holding the franchise back.
Cronin, however, seems genuinely interested in exploring lesser-known aspects of ancient Egyptian life, including the how and why of mummification. “Authenticity matters to me,” the director recently told . “One thing I’m really proud of with this movie (and the team involved) is that we have a truly authentic Egyptian cast and plenty of Arabic dialogue.”
The Mummy will also blend that authenticity with a story true to Cronin’s style: he describes it as “one part Poltergeist and one part Seven, but filtered through my lens.” That’s a lot to balance, but if this near-century-old property wants to survive in the modern day, a fresh jolt of life might be its only chance.