Lee Cronin's The Mummy 4K 2026 Ultra HD 2160p

TV journalist Charlie (Jack Reynor) and his pregnant wife Larissa (Laya Costa) in Cairo find their daughter Katie (Natalie Grace) missing. She is found eight years later in a sealed coffin—sickly, convulsing, and unrecognizable. Katie is brought from Egypt to America and cared for meticulously, with no one suspecting that a terrifying demon had possessed her during her abduction.

User Review

If you went to see the new *Mummy* expecting the spirit of an adventure ride starring Brendan Fraser, you might as well turn around and go home right now. It’s as if Lee Cronin dug this film up not from the sands, but from the basement of *The Evil Dead*: dirty, disgusting, unsettling, and in no way meant to entertain. This is no longer a story about tombs, curses, and treasure hunters, but a body horror film about a child possessed by an ancient Egyptian evil.

One can only admire the audacity of those who say that the new *Mummy* isn’t scary, but merely repulsive with its abhorrent scenes. Here, almost everything is terrifying: from the signature close-ups to the sounds, from the physical movements to the feeling that common sense has long since abandoned this house. Cronin once again works not so much with a mystical atmosphere as with physical discomfort: the evil here doesn’t just curse—it crunches, creaks, oozes, and crawls right into your face.

The only surprising thing is the calmness of the possessed child’s parents. People, your daughter is eating insects, folding herself in half, and running up the walls! No, everything’s fine? Maybe you should at least call a doctor, an exorcist, or Van Helsing?! There’s no logic to the characters’ actions at times, and their behavior will raise questions more than once. I understand that the conventions of the horror genre often thrive on characters’ poor decisions, but here it’s truly baffling.

On the other hand, Natalie Grace’s feature film debut is a success. The young girl, playing the non-verbal role of the mummy, keeps the tension high throughout the entire film. She screams, moans, chatters her teeth, arches her back, crawls, and does all sorts of other crazy things that are genuinely unsettling. She’s the main character of this film—and its main attraction.

Toward the end, *The Mummy* finally reminds us that it was directed by the man behind *Dawn of the Dead*. The level of weirdness and grotesqueness on screen goes off the charts, and it feels like they’re about to show a copy of the *Necronomicon* right next to the sarcophagus.

Ultimately, the new *Mummy* is an uneven, drawn-out film—at times illogical and not particularly profound. The themes of family trauma and parental responsibility are touched upon here but not fully explored. Yet as a horror spectacle, the film works perfectly: it’s repulsive, tense, unsettling, and quite effective. After such an unconventional take on the story of the bandaged monster, you don’t really want to delve deeper into Egyptian mythology—you just want to quickly check the kids’ room, in case they’re not asleep after all, but quietly crunching on a scorpion in the corner.

Info Video

Codec: HEVC / H.265 (72.0 Mb/s)
Resolution: Native 4K (2160p)
HDR: Dolby Vision, HDR10+
Aspect ratio: 2.39:1
Original aspect ratio: 2.39:1

Info Audio

#English: Dolby TrueHD with Dolby Atmos 7.1 (48kHz, 24-bit)
#English: Dolby Digital Plus with Dolby Atmos 5.1
#French: Dolby Digital 5.1
#French: Dolby Digital 5.1
#German: Dolby Digital 5.1
#German: Dolby Digital 2.0
#Italian: Dolby Digital 5.1
#Spanish (Latino): Dolby Digital 5.1
#Spanish: Dolby Digital 5.1

Info Subtitles

English SDH (PGS), Bulgarian, Chinese (Cantonese Traditional), Chinese (Simplified), Chinese (Traditional) (PGS), Croatian, Czech (PGS), Danish, Dutch (PGS), Finnish, French (PGS), German SDH (PGS), Greek, Hungarian, Indonesian, Italian SDH (PGS), Korean, Malay, Norwegian, Polish, Portuguese, Portuguese (Brazilian) SDH, Romanian, Russian, Slovak, Spanish (Castilian) (PGS), Spanish (Latin American) SDH (PGS), Swedish, Turkish, Vietnamese.