Author: jbg

72 HOURS (2026)

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Directed By: Tim Story 

Written By: Jon Hurwitz & Hayden Schlossberg, Kevin Burrows and Matt Mider 

Cinematography: Larry Blanford 

Editor: Peter S. Elliot 

Cast: Kevin Hart, Mason Gooding, Marcello Hernandez, Kam Patterson, Ben Marshall, Michael Mando, Kevin Dunn, Andy Garcia, Mike Epps, Teyana Taylor, Megan Suri, Zach Cherry, Sophia Del Rio, Katt Williams 

A 40-year-old executive ends up at a three-day bachelor party with twenty-somethings after being mistakenly included in their chat group.

Obviously, this film is critic proof as none are going to critique this for artistic merits. Though at this point one can say this isn’t a good film and is easily forgettable, but for some it will be entertaining for its time. As there are moments that garner a laugh or a chuckle usually do more to gross out humor.

This film seems to be a little more risky as there is a lot more drug humor in this than expected. As the film seeks to push the envelope, but not go over the cliff Like THE HANGOVER. It still seeks to be a little bit more pain.

Though Kevin Hart stars in this film, really you could’ve inserted any actor or comedic actor superstar in the lead role and might’ve had pretty much the same results

As throughout the film, there seems to be plenty of set ups that are not followed through upon and only use for that scene maybe to lead into another scene and that seems to be how recognizable members of the cast are they’re here more for cameos to play a role for a scene maybe two and then they’re out maybe not forgotten but definitely not followed up on they’re there just to play they’re seeing and not really giving any gravity a reason to be there just Moore isn’t that

The story really makes no sense and unfortunately, none of the cast really stands out or makes an impression they go through the motions, but even their banter doesn’t sound like it was improv or even that well written, it seems more standard bad joke writing

Even the characters seem like they’re more outlines and seem lazy and more ready to go as the supporting cast is played by several recognizable members of the current SATURDAY NIGHT LIVE cast ensemble. you would think they would have something to ad for at least help 

It has a ridiculous cameo at the end for a reveal that definitely feels a bit similar to Kevin Hart’s previous film RIDE ALONG. With an actor who I won’t reveal but at this point feels like he’s under contract to Netflix as he always seems to pop up randomly in their movies.

Can’t say that this film really had a chance as it seems less than inspired and more directed as a mood or in the frame of mind it tries to put you in. It’s so pretty disappointing, popcorn, film, and that may be if you’re under the influence you might be able to find some worth in as truly. The only memorable part of this film is the bachelorette party and that’s about it.

you could definitely skip this one

Grade: D 

SIRAT (2025)

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Directed By: Oliver Laxe 

Written By: Oliver Laxe and Santiago Fillol 

Cinematography: Mauro Herce 

Editor: Cristobal Fernandez 

Cast Sergi Lopez, Bruno Nunez Arjona, Stefania Gadda, Joshua Liam Henderson, Richard Bellamy, Tonin Janvier, Jade Oukid, Ahmed Abbou 

A father, accompanied by his son, goes looking for his missing daughter in North Africa.

Please watch this film before anyone can spoil any of it for you. 

There is so much one wants to say about this film

This film is more of an experience. All its own. Then something you just watch and rate. As it makes you Feel many things throughout. 

Perfectly titled, as it truly lives up to its appetite, which you truly only understand by the end

Imagine a movie centered around and filmed a club or on MTV spring break centering on the dance floor and dancers as well as the music only with a loose plot to interact with the dancing and Revels. Throughout broken up scenes and establishing shots of actual actors done for that you are here for you or spontaneous things happen or caught on camera. Like the movie CLIMAX 

Only here Based around the main characters of father and son looking for their missing daughters/sister, which keeps it from being an on the ground documentary so more staged docudrama.

That is what I thought this film would be until it finally bared down and focused after I would say the first 15 to 20 minutes

What we do end up getting is a film that is useful less stylized and more radical. That is a road movie based around ongoing road trip through back roads in the desert. As the film plays like a tempo with brakes between tracks.

The characters, other than the lead, father and son, the so-called ravens are not the Hollywood version. These are more not only international, but older and middle aged as well as weathered characters who just seemed to go with the flow of life some disabled some just lost so I’m looking for the next party or to see where the wind takes them so they form a kind of loose knit family themselves. 

The film is kind of a thrill throughout as you never know where it’s going and where we are going with these characters. It becomes hypnotic . 

The film does manage to be shocking. As it doesn’t go where expected. Especially when you think you know how everything is gonna play out, which is one of the reasons one believes they got nominated for best foreign film, other than just its unpredictable mnature. Presented as a loss journey that is surprisingly emotional, though never allows itself to be sentimental as it is unflinching.

The film is a kind of unknown suicide mission of sorts that no one knows they are voluntarily going on though always seems to want to have hope even in the worst situations. A dance through hell

As the desert situations can be beautiful, but are also dangerous and deadly, so there’s always that threat looming which creates great tension as well as the father, never quite trusting the group at first, even as they seem to come through for him, though also them being quite cautious of him without him being with child certainly helps them to open themselves up more though the film does present us with plenty of worst case scenarios

The film does offer a sucker punch of a third act. As characters we grow to know and care about are threatened. Where we in the audience never truly expect to care so much. Are pushed to the edge. This isn’t a film about a journey but one of acceptance. 

This is a truly unforgettable film. That seems like it will be a party, but ends as a nightmare. 

Grade: A 

WILD ZERO (1999)

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Directed By: Tetsuro Takeuchi

Written by: Tetsuro Takeuchi and Satoshi Takagi

Cinematography: Motoki Kobayashi

Editor: Tomoe Kubota 

Cast: Guitar Wolf, Drum Wolf, Bass Wolf, Masashi Endo, Kwancharu Shitichai, Makoto Inamiya, Haruka Nakajo, Shiro Namiki, Yoshiyuki Morishita 

After a meteor strike aliens attack the earth and begin turning people into zombies. Rockers Guitar Wolf, Bass Wolf and Drum Wolf aswell as their rock and roll blood brother ace and his true love Tobio are caught in the middle of this madness

WILD ZERO starts weird, gets weirder, and somehow still has room to surprise you.

The film quickly introduces its colorful cast before throwing all of their storylines together. At its heart, it’s an ensemble movie, even if the legendary Guitar Wolf stand proudly at the center like the coolest people to ever ignore the apocalypse.

This thing is loud, unfiltered, ridiculous, and incredibly charming. The third act is absolutely bonkers, piling on zombies, aliens, explosions, romance, and pure punk-rock energy. It shouldn’t make sense, yet somehow it feels completely natural. Every time you think the movie has run out of ideas, it casually throws another one at you.

Having Guitar Wolf play themselves is inspired . Imagine the Ramones in ROCK N ROLL HIGH SCHOOL filtered through a Japanese zombie movie with a garage punk soundtrack. They don’t perform every five minutes, but every scene they’re in reminds you why they’re the coolest band in the room. While everyone else panics, they just keep moving forward like the end of the world is an inconvenience. 

One of the film’s biggest surprises is its love story. At the center is a romance between a cisgender man and a trans woman that feels remarkably thoughtful for a film released in 1999. It acknowledges fear and prejudice but ultimately lands on acceptance without ever feeling preachy. It simply lets the characters exist, and Guitar Wolf delivers one of the film’s most memorable speeches about love that perfectly sums up its philosophy.

The world itself is delightfully off-kilter. A club manager is so obsessed with revenge that he’ll chase the band to the ends of the Earth, usually while wearing hilariously tiny shorts. Another character looks like a punk-rock mercenary whose wardrobe somehow becomes more dangerous every time she appears. Nobody dresses normally, nobody acts normally, and that’s exactly the point.

Think of it as SCOTT PILGRIM VS. THE WORLD nearly a decade early, only traded indie rock for Japanese punk, replaced the exes with a bunch of slow moving classic zombies, and decided aliens might as well show up too.

It’s a movie overflowing with imagination, creativity, and infectious energy. I owned the DVD for years but somehow never got around to watching it until now on streaming. Strangely, I’m glad I waited. I probably would’ve enjoyed it back then, but I appreciate its sheer originality much more today.

I wouldn’t call it a personal favorite, but I absolutely understand why it’s become a cult classic. If you’re looking for something unpredictable, inventive, funny, and unlike almost anything else, WILD ZERO  is an easy recommendation.

Honestly, it feels like the CRANK movies were chasing this same “anything goes” energy years later. Few films embrace insanity with this much confidence and have this much fun doing it.

Grade: B+

THE IN CROWD (1988)

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Directed By: Mark Rosenthal 

Written By: Mark Rosenthal and Lawrence Konner 

Cinematography: Anthony Richmond 

Editor: Jeffery Wolf 

Cast: Donovan Leitch, Jennifer Runyon, Joe Pantoliano, Sean Gregory Sullivan, Bruce Kirby, Scott Plank, Wendy Gazelle, Charlotte D’Amboise, Page Hannah

A young man of the rock and roll generation is in his senior year of high school. When one day he successfully gets on a popular teen dance television show he becomes a star. The plot follows him as he lives his new life in his new world. What he finds are adoring fans, jealous rivals, bitter friends left behind, and the girl of his dreams…his dance partner.

This film used to be on all the time on the legendary (To me at least) Flix Channel that Moore played films from the past 90s 80s 70s even 60s some even older but they mostly stayed within those decades.

I would always see glimpses of this film and advertisements, but never managed to catch the whole film. In fact the only scene I really remember was when Joe Potano goes into the star of the film Donovan Leitch’s classroom to retrieve them and decides he won’t take them out until the end of class and then they all have a discussion about Charles Dickens book A TALE OF TWO CITIES. 

Now decades later, I finally got to watch this film, beginning to end, and while it leans heavily into nostalgia, there is that feeling that this is kind of a b-movie, less campy more romantic version of HAIRSPRAY (even though they came out in the same year. Like competing products with similar stories to revolve around) and of course it’s very white washed version of it too with no real mention of Race that at least was a major plot point for the other film. This seems just wanna almost be an updated HAPPY DAYS blast from the past. 

Though it does pay a lot more attention to character. I wish there was more Joe Pantoliano throughout. 

Now, while the film is more nostalgic less overall comedic. It does try to show the changing times, but sticks with a universal youth story. Surprised at how much this film chooses to be a study of class, but then again once you take Race out of the equation you gotta have some story of the haves and have nots.

There are quite a few things that are memorable by the end. Sean Gregory Sullivan is a scene stealer as Popeye, as well as a cameo from Peter Boyle and a dance battle in a loving room that has to be seen to be believed 

By the end, the film isn’t necessarily remarkable. It’s a fun watch and fits along with all those 80s and 90s films that seem to want to take a look back at the 1950s and 60s through a more coming of age, romantic and throwback lens. Think movies like SHAG, THERE GOES MY BABY, 1969) 

It’s an entertaining family film that tries to be rebellious, but by the end is all heart.

Grade: C+

FACES OF DEATH (2026)

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Directed By: Daniel Goldhaber

Written By: Daniel Goldhaber and Isa Mazzei 

Cinematography: Issac Bauman 

Editor: Taylor Levy 

Cast: Barbie Ferreira, Dacre Montgomery, Jermaine Fowler, Josie Totah, Aaron Holliday. Charli Xcx, Kurt Yue, Ash Maeda 

Margot Romero, a content moderator haunted by a viral tragedy, must track down a sadistic filmmaker who recreates legendary snuff cinema to silence the internet’s obsession with her own past trauma.

This was a film that I expected to be a bit more racy, confrontational and controversial, considering the source material. I thought it would be a bit more disgusting though really other than some notorious clips from the Internet that are ported to have been real the rest of the place pretty basic or what you might expect even actually a bit more disappointing.

As they have to include a story to make a narrative here but even that while it has something to say about social media, it feels a little late even though this film was supposed to come out in 2024 and was finally released in 2026 it still feels like it’s trying to say something that maybe most of the audience already knows about being addicted to the thrill and being desensitized by violence that we want more extreme more gore as a kind of rush.

Though at times certain seems like an unnecessarily quick sex scene in a hallway just seem to be there either as a bad tasteless joke, or an early warning sign of trying to show how badly this film wants to be rebellious and naughty, unfortunately, throughout the rest of the film that just isn’t there

The stunt casting of Charli XCX in this film amounts to nothing she does well in the small role that she’s given, but really doesn’t have that much to do. There aren’t as many killings in this film as one might expect and it just seems that at certain points, all logic is thrown out the window, especially in the leader scenes when Barbie for our manages to escape.

As everything after that pretty much makes no sense though the lead character at times makes no sense. Either her actions that feel really there only because the script says after telling her we’re training her coworkers oh, don’t get involved in any cases off-line. She immediately breaks that code very easily, and it doesn’t seem like it was really hard to convince her to do this, even though any opening of the film it tried to set her up as stern and orderly, but with a secret in our past.

Barbie Ferrara is OK in a lead role. I don’t think she’s the problem with the film. I think it’s the script and the material she’s given because seeing her and other films it’s obvious she is a good actress, but it would’ve been hard for anyone to make this character and script work fully and be believable and root for the character.

Also, the special effects for this film are a little lame there seems to be this big lead up that kind of hype the scenes up, but then nothing comes from the recreations of scenes from FACES OF DEATH, Here in the film look super fake and especially when they show victims bodies after the killings, you can tell that they are either mannequins or dummies so that it just looks so unrealistic that it kind of takes you out of the film especially for a film that seems well funded

One isn’t expecting a classic, but I thought it would be a little more stronger and inspired rather than what we get which feels basic and a little uninspired. I really wanted this phone to be decent and good especially from somebody who still is a bit uncomfortable trying to watch faces of death from 1983 the controversial video cassette or any of it sequel as any violence that is a bit too realistic makes me not want to watch the rest of the film. If it looks too real or too-plausible, it’s sickens me, and I don’t find that as entertainment

It’s really disappointing that the director Daniel Goldhaber who made the memorable drama HOW TO BLOW UP A PIPELINE is the director behind this and how unrealistic this film feels compared, especially to a previous film. When would think who made something much more stronger and original. as this feels like maybe the title was thought of first and they figured they’d fill in the rest later and this is the best that they could come up with as even when it tries to be Meta it doesn’t exactly work. Unfortunately, this is also a film. One would never call clever.

Grade: C-

ALPHA (2025)

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Written & Directed by: Julia Ducournau

Cinematography: Ruben Impens 

Editor: Jean-Christophe Bouzy 

Cast: Melissa Boros, Golshifteh Farahani, Tahar Rahim, Emma Mackey, Louai El Amrousy 

In a French city grappling with an unnamed viral epidemic, 13-year-old Alpha, the daughter of an immigrant doctor, confronts a challenging coming-of-age journey. Her mother, a frontline healthcare worker, is horrified when Alpha allows her classmate and love interest, Adrien, to tattoo her with a shared needle at a party. The resulting bleeding turns Alpha into a social pariah at school, igniting heightened fears of blood contamination among her peers. However, things take a dark turn when Uncle Amin, a person with a chronic substance use disorder, moves back into the family home. This unexpected reunion forces Alpha to share a room with him, further complicating her already strained life.

Alot of people came away from Alpha feeling underwhelmed, calling it just okay, or even a disappointment,but against all odds, I really liked it.

In some ways, it’s overdone. It leans heavily into melodrama, and at times it feels almost overwhelming on purpose, But somehow, that worked on me. I was mesmerized by it, by the mood, the discovery, and the way it slowly reveals itself. Even when I had a sense of where it was going, it kept me interested.

This won’t be for everyone. It’s slower, more emotional, and much more introspective than many might expect. Especially from writer-director Julia Ducournau. If you’re looking for the shock or body-horror intensity of RAW or TITANE may feel restrained by comparison. But that restraint is part of what makes it fascinating.

The visuals are still unmistakably hers, sharp, beautiful, occasionally surreal, but they never feel flashy just for the sake of it. They serve the emotion. The film’s central allegory, with its mysterious virus that slowly turns people into marble statues that bleed sand, is an obvious but powerful reflection on illness, grief, and specifically the AIDS crisis.

This isn’t really a genre film, so much as a drama dressed in genre clothing. It’s less interested in shocking you than in sitting with discomfort, fragility, and loss. It may not always know exactly what it wants to say, but it remains compelling as a study of its themes and characters.

And yes, maybe it goes a little too far with the melodrama, perhaps to compensate for a story that feels thinner than its ideas. But even then, it never lost me.

To show how far, she has gone from her usual. The film doesn’t even have actress Garance Marillier who is. Usually in all of her work so far 

It’s not my favorite film from Julia Ducournau, but it might be her most personal. And sometimes a film doesn’t need to be perfect to leave an impression. it just needs to feel singular. This film certainly does

Grade: A

DUST BUNNY (2025)

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Written & Directed By: Bryan Fuller

Cinematography: Nicole Hirsch Whitaker 

Editor: Lisa Lassek

Cast: Mads Mikkelsen, Sophie Sloan, Sigourney Weaver, Sheila Atim, David Dastmalchan, Rebecca Henderson, Lina Kruse, Caspar Phillipson

A dark fairy tale that is quite enchanting, but feels like it has a missing Ingredient to truly sparkle. Though it certainly shines. 

Shot in the aspect ratio Of 3.00:1 which makes the film visually claustrophobic 

This is writer-director  Bryan fuller’s theatrical directorial debut film. One will admit to being a fan of his previous television work HANNIBAL, WONDERFALLS and PUSHING DAISIES 

Especially as one respects his work. Was really wanted to love this film, but can’t say that I did. There was plenty to like. Though can’t say the film is a slam dunk. Can see why some really like it. Though it’s Magic didn’t completely work for me. There might have been too much whimsy. 

This film is certainly imaginative seems more for adults but seems like it would greatly appeal to children just with it’s colors, beauty and creativity.

Told mostly from a child’s point of view. So while there is some adult material. It stays clean and never is vulgar. 

Every detail meticulous especially by design to fit an be awe inspiring truly building it’s own universe and deeply immersive 

Casting his MVP Mads Mikkelsen as his lead here. After having him previously play Dr. Hannibal Lector in HANNIBAL the television series 

Mr. Mikkelsen on this role is memorable and quite flexible, though never imposing Though it does remind one of his previous performance as an assassin in the 2019 action film POLAR. Only here to much better effect and material.

Even like the private joke of the chicken lamp that references one of Mikkelsen’s previous film MEN & CHICKEN 

It keeps Layering the story with reveals but it also seem to stop and start where it gets exciting and then drags and feels like it’s stretching out it’s

Time. So that the film stays fascinating but feels like it is working against itself as it wants to be episodic yet must be cohesive and take care of itself. 

Stylistically inventive with a hint of the past and classic with modern age edge. It has a throwback quality, though more flash then Cartoonish though in the best way. This film will certainly have items fans and is worth looking into.

Grade: C+

THIS IS NOT A TEST (2026)

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Written, Directed & Produced By: Adam MacDonald

Based on the book By: Courtney Summers

Cinematography: Christian Bielz

Editor: Pamela Bayne

Cast: Olivia Holt, Froy Gutierrez, Corteon Moore, Carson McCormac, Chloe Avakian, Luke Macfarlane, Joelle Farrow, Krista Bridges, Jeff Roop

Follows Sloane and four other students who take shelter in their high school during a zombie outbreak.

Based on the young adult novel, THIS IS NOT A TEST feels like the kind of adaptation that probably trims away much of what made the book worth reading. I haven’t read the novel, but I’d wager there’s more room there for the characters to breathe than this film ever gives them.

Instead, it settles into familiar zombie movie territory. Imagine THE WALKING DEAD aimed at a younger audience, only with the occasional surprising moment, yes, including one scene I genuinely didn’t expect. Unfortunately, surprises are in short supply everywhere else. You’ll likely figure out who’s making it to the end long before the characters do.

The frustrating part is that the movie constantly hints at becoming something better. It sets up interesting situations, builds a little tension, then repeatedly backs away just as things are about to get exciting. There are plenty of opportunities to push the horror, the suspense, or even the emotional drama further, but it almost always chooses the safest route.

To its credit, the film isn’t bad. It’s competently made, moves at a brisk pace, and wisely doesn’t overstay its welcome. The cast is believable, likable, and does the best they can with material that rarely challenges them. The movie’s heart is clearly in the relationships and emotional survival rather than nonstop zombie mayhem, and some viewers will appreciate that approach.

If you’re newer to zombie films or horror in general, there’s a good chance you’ll enjoy this more than I did. There’s enough action and tension to stay engaged, and it never completely loses its footing. For longtime fans of the genre, though, there’s very little here that feels fresh or memorable.

In the end, THIS IS NOT A TEST  isn’t a disaster. it just never becomes the movie it keeps teasing. It’s respectable, watchable, and occasionally effective, but it ultimately feels less like a finished statement and more like an early draft that needed one more rewrite.

Grade: C 

EVIL DEAD BURN (2026)

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Directed By: Sebastien Vanicek

Written By: Sebastian Vanicek and Florent Bernard 

Cinematography: Philip Lozano 

Editor: Maxine Caro

Cast: Souhelia Yocoub, Hunter Doohan, Lucinae Buchanan, Erroll Shand, Tandi Wright, Maude Davey, George Pullar, Greta Van Den Brink 

After the loss of her husband, a woman seeks solace with her in-laws. As one by one they transform into deadites, she comes to discover that the vows she took in life – survive even in death.

I watched this in 4DX, and what a ride. It definitely added to the experience. You don’t just watch the movie. you feel like you’re trapped inside it. The seats throw you around so much that by the end you feel as beaten up as one of the Deadites. If there was ever a movie made for 4DX, this is probably it.

As an addition to the EVIL DEAD franchise, it’s a solid one.

What’s always been interesting about EVIL DEAD is that every era has its own personality. Sam Raimi’s films were horror, but they were also goofy, funny, and wildly inventive. The newer films have taken a very different path. They’re less interested in laughs and much more focused on brutal endurance. The gore is nastier, the violence is crueler, and the scares rarely let up. It still feels like EVIL DEAD, but it’s evolved into something much darker for a new generation.

The franchise has also shifted from following a lone hero to centering on survivors and final girls, with each story built around family trauma, buried emotions, and painful secrets.

This time, the horror comes wrapped inside a family gathering where the in-laws may be carrying more baggage than anyone expected. What starts as awkward family dynamics slowly turns into something much worse, as old tensions, resentments, and dark secrets erupt in the bloodiest way imaginable. It’s a fun twist on the usual family drama, your relatives might actually be cursed.

I have to admit, I preferred the previous film a little more. It established this new direction and felt fresher and more personal. EVIL DEAD BURN has stylish direction, especially during a couple of standout sequences that are visually unforgettable, but overall it feels more like a continuation than a reinvention. It’s bigger, bloodier, and slicker, but it doesn’t hit quite as hard emotionally.

At times, it almost feels like a French Extremity horror film that just happens to exist in the EVIL DEAD universe. For some viewers, that relentless brutality will be thrilling. For others, it may start to feel more like an endurance test that brushes up against torture-porn territory.

The good news is that this entry brings back a little more humor than Evil Dead Rise. It’s still incredibly dark, but those twisted moments of comedy help balance out the nonstop carnage.

For all of its memorable kills, shocking set pieces, and energetic direction, I also walked away feeling like it was a little disposable. I had a good time. I liked it. I just didn’t love it the way I was hoping to.

Grade: B-

LEE CRONIN’S THE MUMMY (2026)

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Written & Directed By: Lee Cronin

Cinematography: Dave Garbett 

Editor: Bryan Shaw 

Cast: Jack Reynor, Laia Costa, May Calamawy, Natalie Grace, Shylo Molina, Billie Roy, Veronica Falcon, Havet Kamille, May Eighety 

Eight years after her sudden disappearance in Egypt, a severely traumatized teenager is returned to her shattered family in New Mexico, triggering a visceral nightmare as they realize she is hosting an ancient, demonic parasite.

A mummy movie by way of the Evil Dead 

No matter what I have to say about this film, I can appreciate that Lee Cronin didn’t simply remake the Brendan Fraser version. Instead of another action-adventure, he tries to bring The Mummy back into the horror genre. That’s an idea I genuinely admire.

The problem is that it often feels less like The Mummy and more like another Lee Cronin horror film. If you’ve seen Evil Dead Rise, you’ll probably recognize the DNA almost immediately.

Horror first, it seems like the mummy cems second. Rather than focusing on ancient curses and classic monster horror, the film mixes together possession, exorcisms, ancient spirits, cursed objects, and over-the-top gore. By the time the third act arrives, it feels more like an Evil Dead movie wearing a mummy costume.

The similarities are obvious, and sometimes it feels as though the “mummy” element was added to a story that already wanted to be something else.

The film is Way too long. The biggest issue is the running time.

The first two acts spend so much time introducing characters, building mysteries, and lining up future victims that the film starts to drag. I understand why Cronin wants to establish the world, but everything feels over-explained.

Instead of creating tension, the movie keeps building… and building… and building.

It isn’t boring, but it definitely tests your patience.

When it works, Once the film finally reaches its third act, it becomes the wild, bloody horror movie it has been promising.

Cronin doesn’t hold back. The violence is brutal, the gore is excessive, and the film is surprisingly mean-spirited. Nobody feels safe, whether they’re children, adults, or elderly characters. That cruelty gives the movie an edge that many modern studio horror films avoid.

The creepy atmosphere also works more often than it doesn’t, even if the pacing occasionally gets in its own way.

I understand Why audiences were divided. I can understand why this version didn’t connect with everyone.

Some viewers were probably hoping for another swashbuckling adventure like the Brendan Fraser films. Others may have wanted something closer to the classic Universal horror movies from the 1930s and 1940s.

Instead, they got what is essentially an Evil Dead-style horror film built around mummy mythology.

That’s not necessarily a bad idea. it just isn’t what many people expected.

This is one of those movies that’s difficult to judge.

It accomplishes many of the things it sets out to do, but it also overdoes them. It explains too much, stretches scenes longer than necessary, and could easily have lost 20 or 30 minutes.

Still, I had a good enough time. It’s entertaining, the cast is solid, and I appreciate that Cronin tried something different instead of copying what came before.

It may not be the mummy movie everyone wanted, but it’s a decent horror popcorn film, even if it sometimes feels like an unofficial EVIL DEAD sequel wrapped in ancient bandages.

Grade: C