April 18, 2026 • 25 mins
In this episode, Benjamin Norris and his guest, Brose Avard, dive into the world of horror with a reimagined take on the classic Mummy story. They discuss the film's unique blend of possession and body horror, its stunning visuals and the cast's performances. Brose shares his thoughts on the film's script, which he found a bit weak in parts but praises the cinematography and special effects. They also discuss the film's themes of family, trauma and the supernatural. Plus how they're handled that in the story. It's a conversation that's sure to leave you having a laugh and toying with the idea of seeing Lee Cronin's The Mummy.
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Speaker 1 (00:00):
It's in the news today, but it was actually on
TV Reload.
Speaker 2 (00:02):
The podcast last week.
Speaker 1 (00:03):
They're welcome back to TV Reload. My name is Benjamin Morrison.
Today I'm joined by brose Ard, the Daddy to My
Mummy of movie review podcasts.
Speaker 2 (00:12):
I am I'm a daddy. No, I'm not a daddy
at all. I'm a doggy daddy. Yay. There's no daddy movie?
Is there no daddy horror movie?
Speaker 1 (00:19):
There should be a well, there's Big Daddy.
Speaker 2 (00:22):
Oh, there's Big Daddy. Yeah. There was Saturday the fourteenth.
Do you remember that? Back in the eighties, it was
trying to jump on the back of Friday the thirteenth.
I don't think it did very well. It's bad a spoof,
I don't think so. I think it was just a
cheap horror movie and they just thought, you know, Friday
thirtieth is bad, then Saturday the next day must be
pretty crooked too. I don't know. It wasn't based on
any real law or intelligence. Yes, Lee Cronan's The Mummy.
Speaker 1 (00:42):
Yeah, well this is week where I'm packing something particularly dark, twisted,
and seriously not for the faint hearted.
Speaker 2 (00:47):
No, no, did you get a little bit of palpitations
in this one. It was a bit a bit heavy
at times.
Speaker 1 (00:52):
I'm going to go with skid marks. I mean, I
really I didn't check my jokes at the end of this,
but I'm going to say that definitely skid marks.
Speaker 2 (00:58):
I could build my own pizza of them. With the
bricks I found in my pants.
Speaker 1 (01:04):
They were peeling off the skin. I was like imagining
that was.
Speaker 2 (01:07):
You know.
Speaker 1 (01:07):
Anyway, no more thans to hear about No I wants
to hear about your dirty jucks.
Speaker 2 (01:12):
That's right.
Speaker 1 (01:12):
Let's just give everyone a heads up on this one.
This is not a remake or have anything to do
with Brendan Fraser's versions of the Mummy. That's true.
Speaker 2 (01:20):
The Mummy and the Whale do not meet at all
in this They kept completely separate.
Speaker 1 (01:26):
You know why I thought this though, It was because
we're at the movies together and the poster was over
in the yonder and you said, oh, yeah, we're you know,
we're getting the Mummy the way you referred to it
as you know, the remake of the Mummy.
Speaker 2 (01:37):
There is there is talk of a Brendan Fraser remake
as well.
Speaker 1 (01:40):
But did you think that poster that your pointed to It.
Speaker 2 (01:43):
Just reminded me because I saw the words the Mummy.
I didn't think it was the same. But I've heard that, yes,
that Brendan Fraser and the rest of them are coming
back to do another one. That's what I've heard. I
don't know if it's true.
Speaker 1 (01:52):
I don't think that they kept making Mummy movies because
Rachel Weiss didn't want to do them anymore. I think
that was the That's what.
Speaker 2 (01:59):
I kind of run. I'm sure she've like the money
now though.
Speaker 1 (02:02):
Now she'd be desperate for it. She's like, I'm the Mummy.
I'll dress myself up if it murdered me in real
life and bring me back from the dead so that
I can have the cash.
Speaker 2 (02:10):
Thank you.
Speaker 1 (02:11):
I'll do it for free.
Speaker 2 (02:12):
Have you got a summary there, sir?
Speaker 1 (02:14):
I do so. I just want to quickly say Lee
Cronin is best known for The Hole, which I haven't seen.
The sorry, the Hole in the Ground, which I haven't seen.
But I did go and see Evil Dead Rises.
Speaker 2 (02:24):
Oh yeah, how was that?
Speaker 1 (02:25):
I left the movie theater. Evil Dead Rises is the
most gory shit you will ever see. And I want
to get into something later on about whether or not
the storyline can give purpose to Gore to make it
worth it. But evil dead rises. No, and I'm surprised
that picture companies are still giving this bloke money.
Speaker 2 (02:44):
Hang on, how old are you? You're saying picture study?
What did I say?
Speaker 1 (02:48):
Picture study?
Speaker 2 (02:49):
Oh? We're going to see a nice picture on Saturday.
It'll be a lovely picture at the cinema.
Speaker 1 (02:53):
Because I've been rewatching feud with just Susan surrounding where
they're like, I'm looking to be in another pick.
Speaker 2 (03:00):
So, mister Warner, I'd like to be in a picture. Yes, yeah,
well there you go. Yes, it is a glory film,
that is. This one's a glory film as well. Lay
Crnon likes a bit of the ghool.
Speaker 1 (03:09):
He does like the gool. Hello, mister and missus Cannon.
I'm a deputy chief of the us EMBE.
Speaker 2 (03:17):
Your daughter Katie has been found. She's alive. It's very
important you fore you prepare yourself through what you're about
to see. No something moose, no loud noises, Hey moify,
(03:41):
it's a.
Speaker 1 (03:42):
Mommy, dad. She's been missing for eight years. What was
our daughter doing in a three thousand year old sarcophagus?
Speaker 2 (03:52):
She just needs our care and lots of luck.
Speaker 1 (03:55):
What happened to Katy? What really happened to her? So
when an ancient force is disturbed, a terrifying curse is unleashed,
blinding its victims in a way far more brutal than
death itself. And I'll vouch for that myself. As the
horror of this film escalates, those caught in its path
(04:16):
must confront not just a supernatural threat, but the psychological
and physical toll that comes with a death in the family.
Speaker 2 (04:25):
Ooh spooky.
Speaker 1 (04:28):
And also just to clarify, at this point, there is
nothing Indiana, Jonesy or Mummy.
Speaker 2 (04:34):
There's not even a small trowel and a brush like
there's no there's nothing, no holes being dug at all.
There's the holes already there. You just go down through
a trapdoor.
Speaker 1 (04:42):
So it's a reimagining though of like the entire genre,
because I mean so much methodology that we've never mind mythology,
mythology what did I call it?
Speaker 2 (04:51):
I thought you said methodology?
Speaker 1 (04:52):
Math is what I needed to be able to enjoy it. Actually,
some of the characters look like they're on a different story.
Speaker 2 (05:00):
It's a possession film, this one, rather than a straight
you know, run away from the Mummy type film. So yeah,
it's a horror. So Lee Cronin wrote and directed. Obviously
we mentioned Blumhouse is producing, and you said Leewan of course,
also did I say that right now? What's his name?
Speaker 1 (05:15):
James One?
Speaker 2 (05:15):
James One?
Speaker 1 (05:16):
Sorry, so it's James One and it's Jason Blum who
is Blumhouse souse. Yeah, he obviously was raised by some
horrific parent. Something terrible happened to that man.
Speaker 2 (05:29):
How do you want to start? What do we still
start with Lee Cronan's work? How did you find Lee
Cronan's writing and directing? I thought the script personally, I'll
start by leading you in here. Thought the script was
maybe a bit weak in parts. There's that big reveal
when they tell us what the demon can do, but
we only see it on a really micro scale. I
would have liked to see that demon operate on a
macro scale a bit more, perhaps, like when they're telling
(05:51):
the story of the you know, when the demon existed
three thousand years ago, It's like, well, that's the story
I want to hear. That sounds scarier than this particular
story where it's just one little girl in a house
and she's just you know, beaten up her parents. But
I enjoyed the film because visually, I think it was
absolutely stunning. But yeah, the screenplay few too many vomit
shots as well, Like that's the only trick they had
in their bag.
Speaker 1 (06:10):
What are you talking about the film? The trick they
had in their bag. They vomited on people, they peeled
skin off.
Speaker 2 (06:14):
Look, I think there's a lot of really nice set
pieces and a lot of visuals and a lot of
really cool stuff in this film. I just think the
script was just a bit tired, like a bit bit repetitive.
Nothing interesting. The actual plot's on that interesting. What's interesting
is those things you're talking about, right, the visuals and
the special effects, the camera work in this the shots
are amazing. Lee and the dop do a great job
with the visuals there. But I don't know, just the
(06:36):
story itself is kind of like, ah, all right, I
get you.
Speaker 1 (06:39):
I actually do think that the script was much better
than I was expecting, Like I was expecting this to
not be worth the horror. I was invested in these people,
which is rocking because none of the actors, lead actors
that were used to seeing there would be charismatic actors.
You talked about last week's charismatic actresses like Anne Hathaway. Yeah,
(06:59):
you know, people like that can carry a movie regardless
as to what is happening where this I didn't know
Jack Rayner very well, who's playing Charlie Cannon.
Speaker 2 (07:07):
So he was in Midsummer a while ago twenty nineteen,
and then he was in The Transformers in twenty fourteen.
This is his first kind of lead roles, This is
his first chance. But yeah, it was interesting, isn't it.
Speaker 1 (07:18):
I was following the story of the Canon family, and
I also just want to say I felt sick to
my stomach with the fact that I was so emotional
when there is a point where their daughter has gone
missing and they get an update on the daughter, and
I was so upset, like I was watching a drama,
like I was watching a Meryl sally Field moment where
(07:38):
the daughter's been been found, and I was like, oh
my god. And then I was like, I'm going to
sec this movie is a mummy movie.
Speaker 2 (07:45):
So I got to get inside. There's a sandstorm, and
he said, not without my daughter.
Speaker 1 (07:49):
Yes, but I wouldn't see that. I'd see that Kelly
Field would come back for it for sure.
Speaker 2 (07:55):
Yeah, and I'm an under look. I think that opening
sequence they set up quite well. No way, he's got
a beard. The beard didn't make any sense to me
because it wasn't a good beard. It could have been
in reminders of him with that beard. It was so bad.
Either yeah, yeah, you grow the beard to show his aging,
or he shaves the beard off to show it's a
different timeline. That's what I was thinking. And then when
they jumped eight years ahead or whatever, they were still
the same beard there, don't just look ready, and his
(08:17):
wife got a whole new haircut.
Speaker 1 (08:20):
It didn't help. She was still hideous.
Speaker 2 (08:21):
I know she's gorgeous. He's good.
Speaker 1 (08:24):
What has Laocosta been in She's in a lot of
Spanish films.
Speaker 2 (08:28):
Victoria was in French films as well, know More and
Sinco lobatos, but yeah, lots of lots of European films.
Speaker 1 (08:37):
Yeah.
Speaker 2 (08:37):
Yeah, she can speak Spanish and French and English and
a couple of other languages in there as well.
Speaker 1 (08:43):
So well, I'm glad that she can stand foreign films,
which I'm not going to watch.
Speaker 2 (08:46):
You didn't like her at all. I thought she was great.
Speaker 1 (08:49):
She didn't know if she was that likable that's all, like,
you know, she really had to carry a lot for
this film. And I mean he's the type of actor
when you look at him and guys, go and have
a look on IMDb.
Speaker 2 (09:00):
Now look at Jack Jack Jack Rayner.
Speaker 1 (09:01):
Jack Rayner like he looks like someone you'd see at
a pub that you would just avoid, you know. But
I actually thought his portrayal of Charlie was quite compelling.
Where I felt like her portrayal of Larissa, I don't know,
I just didn't. You know, she's the mother struggling with
this thing, and I wasn't that impressed. But the daughter.
What about the actress playing Natalie Grace who was playing
for Canada.
Speaker 2 (09:21):
Wasn't she amazing? She's very convincing and she does a
lot of I assume a lot of the physical stuff
she's doing too, whether it's on wires or otherwise. But yeah,
she is exceptional and the makeup was really well done
as well. She looked a bit weird when we saw
her back to normal because we were used to seeing
her kind of messed up.
Speaker 1 (09:38):
But when back to normally, you were like, okay, yep,
I can see that was worth or was it worth
fighting for?
Speaker 2 (09:43):
I don't know, as was May Kalamowi, who's the Egyptian
police officer. She's a Palestinian actress. Well, she was fantastic
and she was very good. There's a a very hard
speaking saying she has to do at the end of
the film with her finger in place. But yeah, she
(10:05):
was excellent. I thought she was really.
Speaker 1 (10:06):
Good, fantastic. I mean, she was star performer. But I
also liked that idea of that character as well, that
we sort of saw her originally and then she came
back because she was still sort of is so invested
in this case that it had taken over her whole life.
And I believed that, you know what I mean exactly.
I thought she brought some some gravitas, I think, to
what could have been a flimsy story, which I think
(10:28):
was a little bit flimsy for you.
Speaker 2 (10:29):
No, and I'm not saying the character development wasn't any good.
I'm just saying it was a thin story to hang
the rest of it on. But it's still fine. And
Hayak Camille is worth shouting out to. She was the magician.
She was the one that caused all the trouble in
the first place. Who was on murder and there and
express the Kenth Branner version she played as well, But
she's in a bunch of stuff.
Speaker 1 (10:47):
If she was at the end of your street, and
let's just say, offering you treats through a fence, would
you jump through the fence and.
Speaker 2 (10:55):
Want of what would get me first? Would I be
possessed by a demon and wrapped in shrouds and put
in a psychophagus? Or would I get diabetes because I'd
be taking those treats. I'll be taking all those sweet treats.
It might be the wrong target for her. She wants
someone young because they lay last time.
Speaker 1 (11:13):
They wanted the young body. Now like we need a
young body fight.
Speaker 2 (11:16):
I'm still younger at heart.
Speaker 1 (11:19):
I don't think we can tell anyone that anymore convincingly.
But the way in which we measure the success of
a film like this, like a horror film, is to
whether or not it gets its own franchise. Like I'm
sure when Annabelle came out, no one was expecting annabel
to be like, you know, get three or four different
versions of that doll, you know, because it's pretty a
spin off from the conjuring, you know what I mean?
Speaker 2 (11:38):
It was, Yeah, yeah.
Speaker 1 (11:39):
Yeah, and this film, would you believe that it would
ever get a sequel?
Speaker 2 (11:43):
Do you think we've When I think about Blumhouse and
one of the things that he does so well as
a as a producer is it is as low budget,
very very good looking films for the money. So it
all depends on box office. The reviews haven't been kind
overall for this. I'm about five point eight on Rotten Tomatoes.
It only came out today, so that, you know, let's
see what the people think and what horror fans think.
(12:05):
I think it's a good, solid horror film. The cinema
was packed where I was was packed. I thought it
was a Jurassic Park premiere packed up. I went and
saw it this morning here in Melbourne and there was
I reckon about thirty people in cinema, which is pretty decent.
Speaker 1 (12:19):
That's decent.
Speaker 2 (12:20):
That's good for a Friday. So you know, I think
this film should do okay. I think it's a it's
a good I mean, the body horror is worth pointing
out to people. If you can't deal with body horror,
you probably don't want to see this film. Some nail
clipping which kind of looks like when I cut my nails.
Speaker 1 (12:35):
I'm never cutting my nails the same way again after
this movie.
Speaker 2 (12:38):
Then you know, there's a bit of tongue under the
door and all kinds of weird body stuff that happens
in there that are a bit gross.
Speaker 1 (12:44):
I want to say, can you remember everyone, I feel
like you who had a friend in the eighties early
nineties who had a subscription to Fangora magazine.
Speaker 2 (12:53):
I didn't know anyone that got Fangora, but I used
to go to the Minotaur when it was on Burke
Street and we'd see you know, you.
Speaker 1 (12:58):
Can see it there, but you wouldn't buy it because
you see the front cover. It'd be like Freddy Krueger's
head and a bath of vomit, and you'd be like,
who the hell's buying that. There was one guy in
my primary school and a different guy that was in
my high school that had every edition of Fangora and
would froth over the grottiest shit. But can you imagine
if an eighties or nineties kid who read Fangora could
(13:19):
leap forward to twenty twenty six and see Lee Cronan's
The Mummy.
Speaker 2 (13:23):
They'd be frothing. They love it. This is as gross
as I'd love it to be grosser again if you can.
But this is great.
Speaker 1 (13:30):
I think it's a good time to mention that your
partner did decide not to continue with this film and
at some point decided to doubt about an hour into it.
About an hour into it, tapped out and just said
not so much for me.
Speaker 2 (13:41):
And after that too, there were some moments where it
was a bit tough for me to watch as well.
So I don't like all the gross out stuff necessarily,
but it did make for an effective film. I mean
it made the film effective.
Speaker 1 (13:50):
I had nightmares, actual nightmares. I saw it last night.
Speaker 2 (13:53):
So what were your nightmares?
Speaker 1 (13:55):
It was the Mummy? Was that that person was in
my house? Like I just kept waking up, Wow, that
woman was in my house last night.
Speaker 2 (14:02):
Oh wow. In your defense, you've been sick this week
and you've been fairly highly medicated over the last couple
of days. So could that have been a factor in
these nightmares as well?
Speaker 1 (14:11):
I think so.
Speaker 2 (14:14):
Were you disappointed that the it wasn't more of a
traditional Mummy story or were you okay with it? Did
it have enough Mummy?
Speaker 1 (14:20):
It's a really good question to ask. I think that's
an excellent question to ask, because in actual fact, had
I been under the guise of knowing that this was
going to be something very different to any mummy experience
I'd ever had before, even with my childhood, I would
have probably entered this film differently. But I actually think
that I was actually quite impressed because when I was
(14:40):
driving home, I was thinking about how many mummy stories
that have been out there, and you know, I mean
Egypt and the Pyramids and are already a very fascinating
place with very you know, very big question marks still
on it in twenty twenty six. How all of those
pyramids were built, you know, and why those mummies were
buried in terms, all of that stuff is still very fascinating.
We haven't really mined this kind of story this way before.
Speaker 2 (15:04):
I thought the I guess, inner city, suburban Egypt setting
at the start with the family living there was quite
good and looked spectacular. It looked like a great location
to shoot. And that sandstorm again, same thing they use
it in. Let me think one of the Mission Impossible films,
don't they the sandstorm idea? But you're having the sandstorm
there when the magician's doing what she's doing. So yeah,
(15:25):
there were some nice elements that they to move away
from the ancient Egypt elements and move into a modern Egypt.
So I like that stuff definitely. And then the house
they moved to in New Mexico, which you know, is
kind of a character on its own as well. I
don't know why the walls have so much space in
them to move around in, but I just accepted that
that's how old houses in New Mexico were built. I
(15:47):
don't know.
Speaker 1 (15:48):
I was like Sydney Prescott's been to that house looking
to wonder whether she should I survived with the knives
through the wall in Scream seven. I'm happy with the
space down the corridors behind the walls.
Speaker 2 (16:01):
Do you think the mummy inside Katie might have been
a little bit more forgiving if she wasn't slammed up
the stairs in the wheelchair when she finally comes home?
Oh how rough?
Speaker 1 (16:10):
Was rough? I said, Oh no, you didn't, is what
I said to Ben when they were dragging that poole
girl up the stairs.
Speaker 2 (16:17):
But how much does she weigh? You just carry her
up and then carry the wheelchair separately.
Speaker 1 (16:21):
She's been Mamma fied, I reckon she weighs less than
she used to before.
Speaker 2 (16:25):
Even dehydrated, and she'd been malnourished. She weighs like thirty
kilos or something.
Speaker 1 (16:30):
Every step that she went up the stairs, I was like, Oh,
you're going to get it for that one. Oh, but
this swhere. There's a little issue with this story, and
that is that when you find out that your daughter
is still alive and you bring her home and she
is this version of your daughter. Yeah, and she in
the very first sleepover back in the family home, leaps
(16:51):
off the bed and back bends and you know, punches
Gramma in the face. At that point, I'm like Jurassic
Park line to her, shoot, like, I can't imagine any
parents are going to want to keep their daughter alive
to be put through this kind of pain. Like as
soon as the daughter is back at the house and
you realize that she this ain't right, this right, shen't
(17:13):
come back from this is you probably wouldn't keep trying
keep this person alive on need to watch the rest
of your family perish in her control, you know what
I mean?
Speaker 2 (17:21):
Yeah, I mean I was maybe it was the wrong thought,
but when she first got home, I'm like, wouldn't you
strap her down? I guess maybe not, But I don't know.
Speaker 1 (17:29):
When you put her in the basement and call her
her frig of the week only get her out of
Christmas and birthdays?
Speaker 2 (17:36):
What secrets do you have in your family? Then you're
not telling us.
Speaker 1 (17:39):
I'm telling you that if anything abad it is happening.
Look at my basement. That's where I put on.
Speaker 2 (17:44):
Like you live in an apartment, now you know.
Speaker 1 (17:46):
Well I used to put them in my closet.
Speaker 2 (17:49):
And the grandmother, God, she really was pushing it with that,
with that demon as well. I don't want to give
anything away, but I did laugh out loud the first time.
The demon, let's say, has a crack at the grandmother.
But yeah, to be doing a Christian prayer around an
Egyptian demon, this seems like a bad idea.
Speaker 1 (18:06):
Bad idea. It reminds me of like, I mean, you
just know not to sort of antagonize someone. I'm sure
you have this with melt You if you know their
pressure points, you don't start going. You know what I'm
going to do. I'm going to whisper some sweet nothings
in the ear aka some religious scripture because she wasn't
enjoying it.
Speaker 2 (18:24):
Not at all. The demon wasn't enjoying it either.
Speaker 1 (18:27):
The skin was bubbling, but also the floor, for no
reason across the room was started rotting. You started to
rot just so that later on the movie, if she
needed to look through the floor, job was already done
because she'd been rotting that floor.
Speaker 2 (18:40):
They were kind of Exorcist references all the way through
this as well. Yeah, as a death is very similar.
There's some you know, some creepy Crawley kind of action
as well that the very reminiscent of the Exorcist. And
it is it is a possession film. It's a mummy
possession film.
Speaker 1 (18:53):
So it's more of a remake of the Exorsies than
it is a remake of Brendan fashion the Mummy.
Speaker 2 (18:58):
That's what you're telling, That's what I'm saying. And although
the a couple of things, the canary storyline just doesn't
finish right. The Mum just kills the canary and that's it.
That doesn't go anywhere. I guess that's the sign that
the Mummy's awakened. I guess that's what that's all about.
It's like the Kings of Cold Mine. But then the
Professor that Jack Rayner gets onto, he explains what's happened,
but then he just disappears as well. He's not Oh,
(19:20):
you've got a demon in your house, so good luck
with that, see you, mate.
Speaker 1 (19:23):
That was so random. It was like just there to
tell a little bit of extra storyline.
Speaker 2 (19:27):
Yeah, tiny bit of exposition, and he gets a lot
of screen time and a lot of dialogue for someone.
Speaker 1 (19:32):
And you're like, if you just had this random person
turn up at the end of your lecture and tell
this terrific story, you ain't getting on with your day,
you know what I mean. You ain't going down to
the staff room and pouring yourself a cup of tea
and trying to get on the shit.
Speaker 2 (19:44):
You know, yeah, exactly. I thought he should have shown
up at the house at some point.
Speaker 1 (19:48):
At some point with the tried tried his luck, like
the Exorcist, you know, when the Exorcist turns up at
the house with the briefcase, Like, this guy should have
turned up with something.
Speaker 2 (19:56):
Yeah, I've realized if we reverse say it backwards or something.
I don't know.
Speaker 1 (20:01):
Cinematography, David Garbett, you know, great cinematography. As you said,
it felt very claustrophobic. It felt fantastic. He has not
a lot of films to his name, much like Stephen
McKowen who Owen, Yeah, Steve McCowen, who worked on Evil
Dead Rises. I can also vouch for the fact that
his score and that was equally disturbing and also very similar.
(20:21):
Building the tension, you know, creating atmosphere. All of this
stuff from this team of people that obviously come with
Lee Cronan a fantastic and I'm sure that's why the
collaboration is their small fact. Lee Cronan did not want
to have his name in the title. He kept on
to take it out, but they were giving him the confidence, No,
you need to have your name in this movie.
Speaker 2 (20:40):
I guess because they want to differentiate from a potential
Mummy reboot or Mummy Impossible or something else they might do.
Speaker 1 (20:47):
They were wanting some ownership over this, and they also
felt that he had made enough of these sort of
films to warrant the fact that people now go, oh,
Lee Cronan, I'll go see that. Where for me, I
was like, Lee Cronan, did I go to school with him?
Who's there?
Speaker 2 (21:05):
Who's Lee Cronan?
Speaker 1 (21:08):
Next week we have Lee Cronan's Mission Impossible, And I'd
be like, you know, not seeing it without a few bandages.
Speaker 2 (21:14):
It's like a fan edit ye downloaded on a Torrent Hiss,
replaced all the voices with Elvin and the Chipmunks, and
it's Lee Cronan's The Mummy.
Speaker 1 (21:22):
Okay, So talk to me about how many stars you
want to give, how many bandages if you wrapped around.
Speaker 2 (21:27):
To this film. Look, I'm going to give it three.
I'm going to give it three. I was deciding there
between ten and a half or three. Two and a
half seems really harsh to me today. It was well
worth watching if you want to see something that's going
to spook you a bit. It's over two hours, doesn't
feel like it didn't feel like it to me. Traveled
along good pace, really well shot, really great set pieces,
some good jump scares, some great special effects, visual effects,
except the CGI codes are a bit rough.
Speaker 1 (21:49):
There was one point where they cut to the coyotes
and they just put like googly eyes on them.
Speaker 2 (21:55):
Floating in space as well, they were actually touching the ground.
Speaker 1 (21:57):
They were not touching the ground.
Speaker 2 (21:59):
It's like, that's what's going on with these coyotes guys.
But yeah, and you know, it's good to see horror
in a cinema because it's a bit like saying a comedy,
like you want to be there with the other people.
They were plenty of comments being thrown around the cinema
by the thirty of us in there, plenty of me
going ah, but yeah, yeah, there's sort of three out
of five. Go and have a look at it. It
was good fun. And it's again you're not saying a
Mummy film is seeing a possession film and it was
(22:20):
good fun. What about you?
Speaker 1 (22:22):
I'm going with three and a half stars because this
is all extra half star. Well, the thing is this
does what it says it's going to on the box.
So like if you were going to buy a ticket
to a movie called the Mummy like this and you
know the genre that it's horror and it's bloomhouse whatever.
This does better than I think a lot of the
conjuring films that I've seen of Like actually that last
(22:44):
Conjuring film was not too bad, but like I just
feel like it did it said was going to do.
Speaker 2 (22:49):
Yeah, except that it's not an adventure what do you
call it? But it was our fault.
Speaker 1 (22:53):
We're stupid, you and I.
Speaker 2 (22:55):
That's what mummy films always are, though. They dig up
a sycophagus and a mummy out and kills everyone. That's
the mummy plot.
Speaker 1 (23:02):
Yeah, I guess that is what kind of happened. But
you know, I just feel like I think mummy, I
think archaeology, you know, that's what I think.
Speaker 2 (23:09):
Yeah, exactly, Well that's that's part of it. Yeah, so
they've done something a bit different here, a.
Speaker 1 (23:12):
Little bit different. Yeah, but look, I'm going to give
you the three and a half stars, which I think
has been very generous for them. But look, I was
never bored. I was genuinely terrified, and that's obviously what
you're signing yourself up for.
Speaker 2 (23:23):
So yeah, they got some good shocks and some good
good moments all the way through it. Talking about absolute horrors.
What are we looking out next week?
Speaker 1 (23:31):
Or we're both going to beat it? That sounds worse
than I actually realized that.
Speaker 2 (23:37):
It sounds so much worse. I mean, no, no, you
not together? How was leaning towards what's drilled thriller?
Speaker 1 (23:49):
Yeah? You want to be thrilled, you want to be
starting something, you want to be starting anything, but beaten
it in a chair next to your friend.
Speaker 2 (23:55):
That's like, oh man, Bennie Inn is not not just
a guy who I never gonna speak to again record
film reviews with.
Speaker 1 (24:05):
We're gonna go and see Universal Pictures. Michael Jackson. Michael
Jackson by.
Speaker 2 (24:10):
Michael Direction, Michael Duction and Productionton.
Speaker 1 (24:14):
I'm gonna say my prediction for Michael is early signs.
I don't think it sounds like it's leading into something good,
you know what I mean.
Speaker 2 (24:22):
Yeah, I've heard praise for the lead performance of Michael. Okay,
but you know, let's let's see. Let's keep our eyes
and ears open and just be open to an experience.
Speaker 1 (24:33):
Well, Michael of the best of the times could be
in his own Mummy movie. You know, he used to
sleep and we're gonna leave the Mummy behind. We're moving
moving away from the Mummy into Michael.
Speaker 2 (24:43):
Yes, we'll do Michael next week. We'll be talking all
things Michael Jackson. And they've got all the songs that's
all you want. You want, you know, a bunch of
songs that will be like a musical.
Speaker 1 (24:50):
Exactly and we love it Bunky, which will be fine.
Just make sure you have all of the Michael Jackson
songs that his fans want to hear. Do you know
what I mean as people get annoyed with that stuff
like turner to a musical. It was the downfall of
who was born.
Speaker 2 (25:03):
In the USA, Bruce Bringsteen.
Speaker 1 (25:06):
Yeah, that was the downfall of the Bruce Springstein biopic
was that there was not enough of the songs that
we love from me.
Speaker 2 (25:13):
But it was just about the making of that one album.
Speaker 1 (25:16):
You're like, No, one's just cared after the person who
walked into pitch that movie. See the box Bruce Springsteen,
and you're already going, yep, you've got dancing you know.
Speaker 2 (25:26):
One in the USA. You got Gay Weathers in the
front row being yanked up on stage exactly.
Speaker 1 (25:32):
Exactly what you want. But no, that film is terrible.
But Michael, we have high hopes for and back to
the Mummy. I will say this to you people, just
take along ze rosary beads and a small pocket sized
brice fix a crucifix. Take along your crucifix and enjoy
it for what it is. Get a large popcorn. Yeah,
(25:54):
and we'll be back next week.
It's in the news today, but it was actually on
TV Reload.
Speaker 2 (00:02):
The podcast last week.
Speaker 1 (00:03):
They're welcome back to TV Reload. My name is Benjamin Morrison.
Today I'm joined by brose Ard, the Daddy to My
Mummy of movie review podcasts.
Speaker 2 (00:12):
I am I'm a daddy. No, I'm not a daddy
at all. I'm a doggy daddy. Yay. There's no daddy movie?
Is there no daddy horror movie?
Speaker 1 (00:19):
There should be a well, there's Big Daddy.
Speaker 2 (00:22):
Oh, there's Big Daddy. Yeah. There was Saturday the fourteenth.
Do you remember that? Back in the eighties, it was
trying to jump on the back of Friday the thirteenth.
I don't think it did very well. It's bad a spoof,
I don't think so. I think it was just a
cheap horror movie and they just thought, you know, Friday
thirtieth is bad, then Saturday the next day must be
pretty crooked too. I don't know. It wasn't based on
any real law or intelligence. Yes, Lee Cronan's The Mummy.
Speaker 1 (00:42):
Yeah, well this is week where I'm packing something particularly dark, twisted,
and seriously not for the faint hearted.
Speaker 2 (00:47):
No, no, did you get a little bit of palpitations
in this one. It was a bit a bit heavy
at times.
Speaker 1 (00:52):
I'm going to go with skid marks. I mean, I
really I didn't check my jokes at the end of this,
but I'm going to say that definitely skid marks.
Speaker 2 (00:58):
I could build my own pizza of them. With the
bricks I found in my pants.
Speaker 1 (01:04):
They were peeling off the skin. I was like imagining
that was.
Speaker 2 (01:07):
You know.
Speaker 1 (01:07):
Anyway, no more thans to hear about No I wants
to hear about your dirty jucks.
Speaker 2 (01:12):
That's right.
Speaker 1 (01:12):
Let's just give everyone a heads up on this one.
This is not a remake or have anything to do
with Brendan Fraser's versions of the Mummy. That's true.
Speaker 2 (01:20):
The Mummy and the Whale do not meet at all
in this They kept completely separate.
Speaker 1 (01:26):
You know why I thought this though, It was because
we're at the movies together and the poster was over
in the yonder and you said, oh, yeah, we're you know,
we're getting the Mummy the way you referred to it
as you know, the remake of the Mummy.
Speaker 2 (01:37):
There is there is talk of a Brendan Fraser remake
as well.
Speaker 1 (01:40):
But did you think that poster that your pointed to It.
Speaker 2 (01:43):
Just reminded me because I saw the words the Mummy.
I didn't think it was the same. But I've heard that, yes,
that Brendan Fraser and the rest of them are coming
back to do another one. That's what I've heard. I
don't know if it's true.
Speaker 1 (01:52):
I don't think that they kept making Mummy movies because
Rachel Weiss didn't want to do them anymore. I think
that was the That's what.
Speaker 2 (01:59):
I kind of run. I'm sure she've like the money
now though.
Speaker 1 (02:02):
Now she'd be desperate for it. She's like, I'm the Mummy.
I'll dress myself up if it murdered me in real
life and bring me back from the dead so that
I can have the cash.
Speaker 2 (02:10):
Thank you.
Speaker 1 (02:11):
I'll do it for free.
Speaker 2 (02:12):
Have you got a summary there, sir?
Speaker 1 (02:14):
I do so. I just want to quickly say Lee
Cronin is best known for The Hole, which I haven't seen.
The sorry, the Hole in the Ground, which I haven't seen.
But I did go and see Evil Dead Rises.
Speaker 2 (02:24):
Oh yeah, how was that?
Speaker 1 (02:25):
I left the movie theater. Evil Dead Rises is the
most gory shit you will ever see. And I want
to get into something later on about whether or not
the storyline can give purpose to Gore to make it
worth it. But evil dead rises. No, and I'm surprised
that picture companies are still giving this bloke money.
Speaker 2 (02:44):
Hang on, how old are you? You're saying picture study?
What did I say?
Speaker 1 (02:48):
Picture study?
Speaker 2 (02:49):
Oh? We're going to see a nice picture on Saturday.
It'll be a lovely picture at the cinema.
Speaker 1 (02:53):
Because I've been rewatching feud with just Susan surrounding where
they're like, I'm looking to be in another pick.
Speaker 2 (03:00):
So, mister Warner, I'd like to be in a picture. Yes, yeah,
well there you go. Yes, it is a glory film,
that is. This one's a glory film as well. Lay
Crnon likes a bit of the ghool.
Speaker 1 (03:09):
He does like the gool. Hello, mister and missus Cannon.
I'm a deputy chief of the us EMBE.
Speaker 2 (03:17):
Your daughter Katie has been found. She's alive. It's very
important you fore you prepare yourself through what you're about
to see. No something moose, no loud noises, Hey moify,
(03:41):
it's a.
Speaker 1 (03:42):
Mommy, dad. She's been missing for eight years. What was
our daughter doing in a three thousand year old sarcophagus?
Speaker 2 (03:52):
She just needs our care and lots of luck.
Speaker 1 (03:55):
What happened to Katy? What really happened to her? So
when an ancient force is disturbed, a terrifying curse is unleashed,
blinding its victims in a way far more brutal than
death itself. And I'll vouch for that myself. As the
horror of this film escalates, those caught in its path
(04:16):
must confront not just a supernatural threat, but the psychological
and physical toll that comes with a death in the family.
Speaker 2 (04:25):
Ooh spooky.
Speaker 1 (04:28):
And also just to clarify, at this point, there is
nothing Indiana, Jonesy or Mummy.
Speaker 2 (04:34):
There's not even a small trowel and a brush like
there's no there's nothing, no holes being dug at all.
There's the holes already there. You just go down through
a trapdoor.
Speaker 1 (04:42):
So it's a reimagining though of like the entire genre,
because I mean so much methodology that we've never mind mythology,
mythology what did I call it?
Speaker 2 (04:51):
I thought you said methodology?
Speaker 1 (04:52):
Math is what I needed to be able to enjoy it. Actually,
some of the characters look like they're on a different story.
Speaker 2 (05:00):
It's a possession film, this one, rather than a straight
you know, run away from the Mummy type film. So yeah,
it's a horror. So Lee Cronin wrote and directed. Obviously
we mentioned Blumhouse is producing, and you said Leewan of course,
also did I say that right now? What's his name?
Speaker 1 (05:15):
James One?
Speaker 2 (05:15):
James One?
Speaker 1 (05:16):
Sorry, so it's James One and it's Jason Blum who
is Blumhouse souse. Yeah, he obviously was raised by some
horrific parent. Something terrible happened to that man.
Speaker 2 (05:29):
How do you want to start? What do we still
start with Lee Cronan's work? How did you find Lee
Cronan's writing and directing? I thought the script personally, I'll
start by leading you in here. Thought the script was
maybe a bit weak in parts. There's that big reveal
when they tell us what the demon can do, but
we only see it on a really micro scale. I
would have liked to see that demon operate on a
macro scale a bit more, perhaps, like when they're telling
(05:51):
the story of the you know, when the demon existed
three thousand years ago, It's like, well, that's the story
I want to hear. That sounds scarier than this particular
story where it's just one little girl in a house
and she's just you know, beaten up her parents. But
I enjoyed the film because visually, I think it was
absolutely stunning. But yeah, the screenplay few too many vomit
shots as well, Like that's the only trick they had
in their bag.
Speaker 1 (06:10):
What are you talking about the film? The trick they
had in their bag. They vomited on people, they peeled
skin off.
Speaker 2 (06:14):
Look, I think there's a lot of really nice set
pieces and a lot of visuals and a lot of
really cool stuff in this film. I just think the
script was just a bit tired, like a bit bit repetitive.
Nothing interesting. The actual plot's on that interesting. What's interesting
is those things you're talking about, right, the visuals and
the special effects, the camera work in this the shots
are amazing. Lee and the dop do a great job
with the visuals there. But I don't know, just the
(06:36):
story itself is kind of like, ah, all right, I
get you.
Speaker 1 (06:39):
I actually do think that the script was much better
than I was expecting, Like I was expecting this to
not be worth the horror. I was invested in these people,
which is rocking because none of the actors, lead actors
that were used to seeing there would be charismatic actors.
You talked about last week's charismatic actresses like Anne Hathaway. Yeah,
(06:59):
you know, people like that can carry a movie regardless
as to what is happening where this I didn't know
Jack Rayner very well, who's playing Charlie Cannon.
Speaker 2 (07:07):
So he was in Midsummer a while ago twenty nineteen,
and then he was in The Transformers in twenty fourteen.
This is his first kind of lead roles, This is
his first chance. But yeah, it was interesting, isn't it.
Speaker 1 (07:18):
I was following the story of the Canon family, and
I also just want to say I felt sick to
my stomach with the fact that I was so emotional
when there is a point where their daughter has gone
missing and they get an update on the daughter, and
I was so upset, like I was watching a drama,
like I was watching a Meryl sally Field moment where
(07:38):
the daughter's been been found, and I was like, oh
my god. And then I was like, I'm going to
sec this movie is a mummy movie.
Speaker 2 (07:45):
So I got to get inside. There's a sandstorm, and
he said, not without my daughter.
Speaker 1 (07:49):
Yes, but I wouldn't see that. I'd see that Kelly
Field would come back for it for sure.
Speaker 2 (07:55):
Yeah, and I'm an under look. I think that opening
sequence they set up quite well. No way, he's got
a beard. The beard didn't make any sense to me
because it wasn't a good beard. It could have been
in reminders of him with that beard. It was so bad.
Either yeah, yeah, you grow the beard to show his aging,
or he shaves the beard off to show it's a
different timeline. That's what I was thinking. And then when
they jumped eight years ahead or whatever, they were still
the same beard there, don't just look ready, and his
(08:17):
wife got a whole new haircut.
Speaker 1 (08:20):
It didn't help. She was still hideous.
Speaker 2 (08:21):
I know she's gorgeous. He's good.
Speaker 1 (08:24):
What has Laocosta been in She's in a lot of
Spanish films.
Speaker 2 (08:28):
Victoria was in French films as well, know More and
Sinco lobatos, but yeah, lots of lots of European films.
Speaker 1 (08:37):
Yeah.
Speaker 2 (08:37):
Yeah, she can speak Spanish and French and English and
a couple of other languages in there as well.
Speaker 1 (08:43):
So well, I'm glad that she can stand foreign films,
which I'm not going to watch.
Speaker 2 (08:46):
You didn't like her at all. I thought she was great.
Speaker 1 (08:49):
She didn't know if she was that likable that's all, like,
you know, she really had to carry a lot for
this film. And I mean he's the type of actor
when you look at him and guys, go and have
a look on IMDb.
Speaker 2 (09:00):
Now look at Jack Jack Jack Rayner.
Speaker 1 (09:01):
Jack Rayner like he looks like someone you'd see at
a pub that you would just avoid, you know. But
I actually thought his portrayal of Charlie was quite compelling.
Where I felt like her portrayal of Larissa, I don't know,
I just didn't. You know, she's the mother struggling with
this thing, and I wasn't that impressed. But the daughter.
What about the actress playing Natalie Grace who was playing
for Canada.
Speaker 2 (09:21):
Wasn't she amazing? She's very convincing and she does a
lot of I assume a lot of the physical stuff
she's doing too, whether it's on wires or otherwise. But yeah,
she is exceptional and the makeup was really well done
as well. She looked a bit weird when we saw
her back to normal because we were used to seeing
her kind of messed up.
Speaker 1 (09:38):
But when back to normally, you were like, okay, yep,
I can see that was worth or was it worth
fighting for?
Speaker 2 (09:43):
I don't know, as was May Kalamowi, who's the Egyptian
police officer. She's a Palestinian actress. Well, she was fantastic
and she was very good. There's a a very hard
speaking saying she has to do at the end of
the film with her finger in place. But yeah, she
(10:05):
was excellent. I thought she was really.
Speaker 1 (10:06):
Good, fantastic. I mean, she was star performer. But I
also liked that idea of that character as well, that
we sort of saw her originally and then she came
back because she was still sort of is so invested
in this case that it had taken over her whole life.
And I believed that, you know what I mean exactly.
I thought she brought some some gravitas, I think, to
what could have been a flimsy story, which I think
(10:28):
was a little bit flimsy for you.
Speaker 2 (10:29):
No, and I'm not saying the character development wasn't any good.
I'm just saying it was a thin story to hang
the rest of it on. But it's still fine. And
Hayak Camille is worth shouting out to. She was the magician.
She was the one that caused all the trouble in
the first place. Who was on murder and there and
express the Kenth Branner version she played as well, But
she's in a bunch of stuff.
Speaker 1 (10:47):
If she was at the end of your street, and
let's just say, offering you treats through a fence, would
you jump through the fence and.
Speaker 2 (10:55):
Want of what would get me first? Would I be
possessed by a demon and wrapped in shrouds and put
in a psychophagus? Or would I get diabetes because I'd
be taking those treats. I'll be taking all those sweet treats.
It might be the wrong target for her. She wants
someone young because they lay last time.
Speaker 1 (11:13):
They wanted the young body. Now like we need a
young body fight.
Speaker 2 (11:16):
I'm still younger at heart.
Speaker 1 (11:19):
I don't think we can tell anyone that anymore convincingly.
But the way in which we measure the success of
a film like this, like a horror film, is to
whether or not it gets its own franchise. Like I'm
sure when Annabelle came out, no one was expecting annabel
to be like, you know, get three or four different
versions of that doll, you know, because it's pretty a
spin off from the conjuring, you know what I mean?
Speaker 2 (11:38):
It was, Yeah, yeah.
Speaker 1 (11:39):
Yeah, and this film, would you believe that it would
ever get a sequel?
Speaker 2 (11:43):
Do you think we've When I think about Blumhouse and
one of the things that he does so well as
a as a producer is it is as low budget,
very very good looking films for the money. So it
all depends on box office. The reviews haven't been kind
overall for this. I'm about five point eight on Rotten Tomatoes.
It only came out today, so that, you know, let's
see what the people think and what horror fans think.
(12:05):
I think it's a good, solid horror film. The cinema
was packed where I was was packed. I thought it
was a Jurassic Park premiere packed up. I went and
saw it this morning here in Melbourne and there was
I reckon about thirty people in cinema, which is pretty decent.
Speaker 1 (12:19):
That's decent.
Speaker 2 (12:20):
That's good for a Friday. So you know, I think
this film should do okay. I think it's a it's
a good I mean, the body horror is worth pointing
out to people. If you can't deal with body horror,
you probably don't want to see this film. Some nail
clipping which kind of looks like when I cut my nails.
Speaker 1 (12:35):
I'm never cutting my nails the same way again after
this movie.
Speaker 2 (12:38):
Then you know, there's a bit of tongue under the
door and all kinds of weird body stuff that happens
in there that are a bit gross.
Speaker 1 (12:44):
I want to say, can you remember everyone, I feel
like you who had a friend in the eighties early
nineties who had a subscription to Fangora magazine.
Speaker 2 (12:53):
I didn't know anyone that got Fangora, but I used
to go to the Minotaur when it was on Burke
Street and we'd see you know, you.
Speaker 1 (12:58):
Can see it there, but you wouldn't buy it because
you see the front cover. It'd be like Freddy Krueger's
head and a bath of vomit, and you'd be like,
who the hell's buying that. There was one guy in
my primary school and a different guy that was in
my high school that had every edition of Fangora and
would froth over the grottiest shit. But can you imagine
if an eighties or nineties kid who read Fangora could
(13:19):
leap forward to twenty twenty six and see Lee Cronan's
The Mummy.
Speaker 2 (13:23):
They'd be frothing. They love it. This is as gross
as I'd love it to be grosser again if you can.
But this is great.
Speaker 1 (13:30):
I think it's a good time to mention that your
partner did decide not to continue with this film and
at some point decided to doubt about an hour into it.
About an hour into it, tapped out and just said
not so much for me.
Speaker 2 (13:41):
And after that too, there were some moments where it
was a bit tough for me to watch as well.
So I don't like all the gross out stuff necessarily,
but it did make for an effective film. I mean
it made the film effective.
Speaker 1 (13:50):
I had nightmares, actual nightmares. I saw it last night.
Speaker 2 (13:53):
So what were your nightmares?
Speaker 1 (13:55):
It was the Mummy? Was that that person was in
my house? Like I just kept waking up, Wow, that
woman was in my house last night.
Speaker 2 (14:02):
Oh wow. In your defense, you've been sick this week
and you've been fairly highly medicated over the last couple
of days. So could that have been a factor in
these nightmares as well?
Speaker 1 (14:11):
I think so.
Speaker 2 (14:14):
Were you disappointed that the it wasn't more of a
traditional Mummy story or were you okay with it? Did
it have enough Mummy?
Speaker 1 (14:20):
It's a really good question to ask. I think that's
an excellent question to ask, because in actual fact, had
I been under the guise of knowing that this was
going to be something very different to any mummy experience
I'd ever had before, even with my childhood, I would
have probably entered this film differently. But I actually think
that I was actually quite impressed because when I was
(14:40):
driving home, I was thinking about how many mummy stories
that have been out there, and you know, I mean
Egypt and the Pyramids and are already a very fascinating
place with very you know, very big question marks still
on it in twenty twenty six. How all of those
pyramids were built, you know, and why those mummies were
buried in terms, all of that stuff is still very fascinating.
We haven't really mined this kind of story this way before.
Speaker 2 (15:04):
I thought the I guess, inner city, suburban Egypt setting
at the start with the family living there was quite
good and looked spectacular. It looked like a great location
to shoot. And that sandstorm again, same thing they use
it in. Let me think one of the Mission Impossible films,
don't they the sandstorm idea? But you're having the sandstorm
there when the magician's doing what she's doing. So yeah,
(15:25):
there were some nice elements that they to move away
from the ancient Egypt elements and move into a modern Egypt.
So I like that stuff definitely. And then the house
they moved to in New Mexico, which you know, is
kind of a character on its own as well. I
don't know why the walls have so much space in
them to move around in, but I just accepted that
that's how old houses in New Mexico were built. I
(15:47):
don't know.
Speaker 1 (15:48):
I was like Sydney Prescott's been to that house looking
to wonder whether she should I survived with the knives
through the wall in Scream seven. I'm happy with the
space down the corridors behind the walls.
Speaker 2 (16:01):
Do you think the mummy inside Katie might have been
a little bit more forgiving if she wasn't slammed up
the stairs in the wheelchair when she finally comes home?
Oh how rough?
Speaker 1 (16:10):
Was rough? I said, Oh no, you didn't, is what
I said to Ben when they were dragging that poole
girl up the stairs.
Speaker 2 (16:17):
But how much does she weigh? You just carry her
up and then carry the wheelchair separately.
Speaker 1 (16:21):
She's been Mamma fied, I reckon she weighs less than
she used to before.
Speaker 2 (16:25):
Even dehydrated, and she'd been malnourished. She weighs like thirty
kilos or something.
Speaker 1 (16:30):
Every step that she went up the stairs, I was like, Oh,
you're going to get it for that one. Oh, but
this swhere. There's a little issue with this story, and
that is that when you find out that your daughter
is still alive and you bring her home and she
is this version of your daughter. Yeah, and she in
the very first sleepover back in the family home, leaps
(16:51):
off the bed and back bends and you know, punches
Gramma in the face. At that point, I'm like Jurassic
Park line to her, shoot, like, I can't imagine any
parents are going to want to keep their daughter alive
to be put through this kind of pain. Like as
soon as the daughter is back at the house and
you realize that she this ain't right, this right, shen't
(17:13):
come back from this is you probably wouldn't keep trying
keep this person alive on need to watch the rest
of your family perish in her control, you know what
I mean?
Speaker 2 (17:21):
Yeah, I mean I was maybe it was the wrong thought,
but when she first got home, I'm like, wouldn't you
strap her down? I guess maybe not, But I don't know.
Speaker 1 (17:29):
When you put her in the basement and call her
her frig of the week only get her out of
Christmas and birthdays?
Speaker 2 (17:36):
What secrets do you have in your family? Then you're
not telling us.
Speaker 1 (17:39):
I'm telling you that if anything abad it is happening.
Look at my basement. That's where I put on.
Speaker 2 (17:44):
Like you live in an apartment, now you know.
Speaker 1 (17:46):
Well I used to put them in my closet.
Speaker 2 (17:49):
And the grandmother, God, she really was pushing it with that,
with that demon as well. I don't want to give
anything away, but I did laugh out loud the first time.
The demon, let's say, has a crack at the grandmother.
But yeah, to be doing a Christian prayer around an
Egyptian demon, this seems like a bad idea.
Speaker 1 (18:06):
Bad idea. It reminds me of like, I mean, you
just know not to sort of antagonize someone. I'm sure
you have this with melt You if you know their
pressure points, you don't start going. You know what I'm
going to do. I'm going to whisper some sweet nothings
in the ear aka some religious scripture because she wasn't
enjoying it.
Speaker 2 (18:24):
Not at all. The demon wasn't enjoying it either.
Speaker 1 (18:27):
The skin was bubbling, but also the floor, for no
reason across the room was started rotting. You started to
rot just so that later on the movie, if she
needed to look through the floor, job was already done
because she'd been rotting that floor.
Speaker 2 (18:40):
They were kind of Exorcist references all the way through
this as well. Yeah, as a death is very similar.
There's some you know, some creepy Crawley kind of action
as well that the very reminiscent of the Exorcist. And
it is it is a possession film. It's a mummy
possession film.
Speaker 1 (18:53):
So it's more of a remake of the Exorsies than
it is a remake of Brendan fashion the Mummy.
Speaker 2 (18:58):
That's what you're telling, That's what I'm saying. And although
the a couple of things, the canary storyline just doesn't
finish right. The Mum just kills the canary and that's it.
That doesn't go anywhere. I guess that's the sign that
the Mummy's awakened. I guess that's what that's all about.
It's like the Kings of Cold Mine. But then the
Professor that Jack Rayner gets onto, he explains what's happened,
but then he just disappears as well. He's not Oh,
(19:20):
you've got a demon in your house, so good luck
with that, see you, mate.
Speaker 1 (19:23):
That was so random. It was like just there to
tell a little bit of extra storyline.
Speaker 2 (19:27):
Yeah, tiny bit of exposition, and he gets a lot
of screen time and a lot of dialogue for someone.
Speaker 1 (19:32):
And you're like, if you just had this random person
turn up at the end of your lecture and tell
this terrific story, you ain't getting on with your day,
you know what I mean. You ain't going down to
the staff room and pouring yourself a cup of tea
and trying to get on the shit.
Speaker 2 (19:44):
You know, yeah, exactly. I thought he should have shown
up at the house at some point.
Speaker 1 (19:48):
At some point with the tried tried his luck, like
the Exorcist, you know, when the Exorcist turns up at
the house with the briefcase, Like, this guy should have
turned up with something.
Speaker 2 (19:56):
Yeah, I've realized if we reverse say it backwards or something.
I don't know.
Speaker 1 (20:01):
Cinematography, David Garbett, you know, great cinematography. As you said,
it felt very claustrophobic. It felt fantastic. He has not
a lot of films to his name, much like Stephen
McKowen who Owen, Yeah, Steve McCowen, who worked on Evil
Dead Rises. I can also vouch for the fact that
his score and that was equally disturbing and also very similar.
(20:21):
Building the tension, you know, creating atmosphere. All of this
stuff from this team of people that obviously come with
Lee Cronan a fantastic and I'm sure that's why the
collaboration is their small fact. Lee Cronan did not want
to have his name in the title. He kept on
to take it out, but they were giving him the confidence, No,
you need to have your name in this movie.
Speaker 2 (20:40):
I guess because they want to differentiate from a potential
Mummy reboot or Mummy Impossible or something else they might do.
Speaker 1 (20:47):
They were wanting some ownership over this, and they also
felt that he had made enough of these sort of
films to warrant the fact that people now go, oh,
Lee Cronan, I'll go see that. Where for me, I
was like, Lee Cronan, did I go to school with him?
Who's there?
Speaker 2 (21:05):
Who's Lee Cronan?
Speaker 1 (21:08):
Next week we have Lee Cronan's Mission Impossible, And I'd
be like, you know, not seeing it without a few bandages.
Speaker 2 (21:14):
It's like a fan edit ye downloaded on a Torrent Hiss,
replaced all the voices with Elvin and the Chipmunks, and
it's Lee Cronan's The Mummy.
Speaker 1 (21:22):
Okay, So talk to me about how many stars you
want to give, how many bandages if you wrapped around.
Speaker 2 (21:27):
To this film. Look, I'm going to give it three.
I'm going to give it three. I was deciding there
between ten and a half or three. Two and a
half seems really harsh to me today. It was well
worth watching if you want to see something that's going
to spook you a bit. It's over two hours, doesn't
feel like it didn't feel like it to me. Traveled
along good pace, really well shot, really great set pieces,
some good jump scares, some great special effects, visual effects,
except the CGI codes are a bit rough.
Speaker 1 (21:49):
There was one point where they cut to the coyotes
and they just put like googly eyes on them.
Speaker 2 (21:55):
Floating in space as well, they were actually touching the ground.
Speaker 1 (21:57):
They were not touching the ground.
Speaker 2 (21:59):
It's like, that's what's going on with these coyotes guys.
But yeah, and you know, it's good to see horror
in a cinema because it's a bit like saying a comedy,
like you want to be there with the other people.
They were plenty of comments being thrown around the cinema
by the thirty of us in there, plenty of me
going ah, but yeah, yeah, there's sort of three out
of five. Go and have a look at it. It
was good fun. And it's again you're not saying a
Mummy film is seeing a possession film and it was
(22:20):
good fun. What about you?
Speaker 1 (22:22):
I'm going with three and a half stars because this
is all extra half star. Well, the thing is this
does what it says it's going to on the box.
So like if you were going to buy a ticket
to a movie called the Mummy like this and you
know the genre that it's horror and it's bloomhouse whatever.
This does better than I think a lot of the
conjuring films that I've seen of Like actually that last
(22:44):
Conjuring film was not too bad, but like I just
feel like it did it said was going to do.
Speaker 2 (22:49):
Yeah, except that it's not an adventure what do you
call it? But it was our fault.
Speaker 1 (22:53):
We're stupid, you and I.
Speaker 2 (22:55):
That's what mummy films always are, though. They dig up
a sycophagus and a mummy out and kills everyone. That's
the mummy plot.
Speaker 1 (23:02):
Yeah, I guess that is what kind of happened. But
you know, I just feel like I think mummy, I
think archaeology, you know, that's what I think.
Speaker 2 (23:09):
Yeah, exactly, Well that's that's part of it. Yeah, so
they've done something a bit different here, a.
Speaker 1 (23:12):
Little bit different. Yeah, but look, I'm going to give
you the three and a half stars, which I think
has been very generous for them. But look, I was
never bored. I was genuinely terrified, and that's obviously what
you're signing yourself up for.
Speaker 2 (23:23):
So yeah, they got some good shocks and some good
good moments all the way through it. Talking about absolute horrors.
What are we looking out next week?
Speaker 1 (23:31):
Or we're both going to beat it? That sounds worse
than I actually realized that.
Speaker 2 (23:37):
It sounds so much worse. I mean, no, no, you
not together? How was leaning towards what's drilled thriller?
Speaker 1 (23:49):
Yeah? You want to be thrilled, you want to be
starting something, you want to be starting anything, but beaten
it in a chair next to your friend.
Speaker 2 (23:55):
That's like, oh man, Bennie Inn is not not just
a guy who I never gonna speak to again record
film reviews with.
Speaker 1 (24:05):
We're gonna go and see Universal Pictures. Michael Jackson. Michael
Jackson by.
Speaker 2 (24:10):
Michael Direction, Michael Duction and Productionton.
Speaker 1 (24:14):
I'm gonna say my prediction for Michael is early signs.
I don't think it sounds like it's leading into something good,
you know what I mean.
Speaker 2 (24:22):
Yeah, I've heard praise for the lead performance of Michael. Okay,
but you know, let's let's see. Let's keep our eyes
and ears open and just be open to an experience.
Speaker 1 (24:33):
Well, Michael of the best of the times could be
in his own Mummy movie. You know, he used to
sleep and we're gonna leave the Mummy behind. We're moving
moving away from the Mummy into Michael.
Speaker 2 (24:43):
Yes, we'll do Michael next week. We'll be talking all
things Michael Jackson. And they've got all the songs that's
all you want. You want, you know, a bunch of
songs that will be like a musical.
Speaker 1 (24:50):
Exactly and we love it Bunky, which will be fine.
Just make sure you have all of the Michael Jackson
songs that his fans want to hear. Do you know
what I mean as people get annoyed with that stuff
like turner to a musical. It was the downfall of
who was born.
Speaker 2 (25:03):
In the USA, Bruce Bringsteen.
Speaker 1 (25:06):
Yeah, that was the downfall of the Bruce Springstein biopic
was that there was not enough of the songs that
we love from me.
Speaker 2 (25:13):
But it was just about the making of that one album.
Speaker 1 (25:16):
You're like, No, one's just cared after the person who
walked into pitch that movie. See the box Bruce Springsteen,
and you're already going, yep, you've got dancing you know.
Speaker 2 (25:26):
One in the USA. You got Gay Weathers in the
front row being yanked up on stage exactly.
Speaker 1 (25:32):
Exactly what you want. But no, that film is terrible.
But Michael, we have high hopes for and back to
the Mummy. I will say this to you people, just
take along ze rosary beads and a small pocket sized
brice fix a crucifix. Take along your crucifix and enjoy
it for what it is. Get a large popcorn. Yeah,
(25:54):
and we'll be back next week.
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