🏺 “Evil never stays buried forever.”

Two decades after Brendan Fraser’s beloved trilogy and nearly a decade after the controversial Tom Cruise-led reboot, Universal Pictures takes yet another stab at reviving its iconic monster franchise. This time, “The Mummy: Resurrection” (2025) attempts to balance the pulpy charm of the originals with modern cinematic sensibilities. Surprisingly, it mostly succeeds — but not without a few ancient curses of its own.

🧭 Plot Summary (Spoiler-Free)

Set in the present day, The Mummy: Resurrection follows Dr. Leyla Hassan (Jenna Ortega), a brilliant Egyptologist with a dark past. While excavating a lost temple beneath the shifting sands of Luxor, Leyla and her team unearth a mysterious sarcophagus wrapped in obsidian and bound by chains inscribed with forgotten runes. Ignoring every horror trope imaginable, they open it.

Out comes Nek’Ra Set (Sofia Boutella) — not just another mummy, but an ancient deity cursed by the gods themselves, trapped for millennia to prevent the annihilation of mankind. Her resurrection unleashes an age-old war between two secret factions: one sworn to protect humanity, and the other devoted to awakening the pantheon of Old Gods.

Meanwhile, Gabriel Reyes (Oscar Isaac), a rogue exorcist and former soldier tormented by visions of ancient battles, joins forces with Leyla to stop Set’s rise. As supernatural plagues hit major cities, the duo must piece together ancient scrolls, forbidden rituals, and long-lost relics before the resurrection becomes irreversible.

🧠 Story & Script: Rebirth or Repetition?

The script, penned by David Koepp and revised by emerging screenwriter Naomi Xu, walks a fine line between revival and reinvention. The story isn’t particularly groundbreaking, but it’s aware of its lineage. There are nods to the 1999 and 2017 versions, some tongue-in-cheek dialogue, and even subtle Easter eggs referencing The Scorpion King.

What sets this reboot apart is its tone. It’s darker, more gothic, with influences from Lovecraftian horror and ancient Mesopotamian mythology. Unlike the campy swashbuckling of Brendan Fraser’s era or the military sci-fi of Cruise’s version, Resurrection leans more toward dark fantasy-adventure with psychological elements.

That said, the pacing stumbles midway. The second act gets bogged down by lore-heavy exposition, and a subplot involving CIA occult agents (yes, really) feels underdeveloped. Still, the climax redeems it with an emotionally charged showdown amidst collapsing tombs and sandstorms.

🎭 Performances: A Stellar Cast in the Sands of Time

• Jenna Ortega proves once again that she’s one of the most versatile young actors of this generation. As Dr. Leyla Hassan, she delivers a grounded, passionate performance that balances intellect with vulnerability. Her scenes exploring grief, legacy, and cultural identity elevate what could’ve been a generic “smart girl in danger” role.

• Oscar Isaac as Gabriel Reyes is magnetic. His portrayal of a haunted warrior-priest navigating faith and PTSD adds depth rarely seen in genre films. His chemistry with Ortega is subtle, with mutual respect rather than forced romance — a refreshing change.

• Sofia Boutella returns to mummy form after 2017’s The Mummy

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  , but here she plays a different character entirely. Her Nek’Ra Set is terrifyingly elegant — a blend of wrath, seduction, and tragedy. Her physicality and presence command the screen, especially in ritual scenes that blend dance with combat.

• Yahya Abdul-Mateen II appears as Malik, a scholar-warrior from the Order of Thoth. While underused, he brings charisma and intensity, especially in the third act.

🎥 Direction & Cinematography: Ancient Aesthetics

Director Alex Kurtzman, returning from the 2017 reboot, seems to have learned from past missteps. Gone is the confused tone and incoherent editing of the earlier film. Instead, Resurrection benefits from a more confident vision.

The cinematography by Greig Fraser (Dune, The Batman) is stunning. Golden deserts under crimson skies, labyrinthine catacombs lit by torchlight, and nightmarish dreamscapes all lend the film a distinct visual identity. The contrast between ancient and modern — sand against skyscraper, relics in data labs — adds visual tension throughout.

Kurtzman wisely uses practical effects whenever possible. The resurrection sequences, with decaying flesh re-knitting under spells, are grotesquely beautiful. When CGI is used — especially during mass possession scenes and celestial alignments — it blends seamlessly thanks to ILM’s top-tier work.

🎼 Soundtrack & Sound Design

The score by Bear McCreary (Godzilla: King of the Monsters, Outlander) is haunting and operatic. Middle Eastern instrumentation fuses with symphonic dread, giving emotional weight to quiet scenes and adrenaline to action sequences.

Of note is the recurring “Resurrection Motif” — a chilling lullaby in ancient Sumerian, sung during sacrifice rituals and echoed in flashbacks. It will stay with you long after the credits roll.

Sound design also deserves praise. From the crunch of brittle bones under sand to the ominous winds whispering curses, the audio enhances immersion without being overwhelming.

🧟 Themes & Symbolism: More Than Just a Monster Movie

While it’s easy to dismiss The Mummy: Resurrection as another popcorn flick, it explores deeper themes:

• Cultural Reclamation: Dr. Hassan’s arc touches on the exploitation of ancient artifacts, repatriation, and the legacy of colonial archaeology.

• Faith vs. Fear: Gabriel’s internal struggle with religious trauma offers a nuanced take on belief in the face of real evil.

• The Weight of History: The mummy isn’t just a monster — it’s a metaphor for buried sins and unresolved pain, both personal and societal.

The film doesn’t beat you over the head with these messages, but they enrich the narrative if you’re paying attention.

❌ Flaws & Missed Opportunities

No movie is perfect, and Resurrection has its share of issues:

• As mentioned, the pacing in Act II suffers from info-dumps.

• A few supporting characters (including a comic-relief tech guy) feel tacked on and forgettable.

• There’s a tease of a larger “Dark Universe” once again — including a cameo