Movies
‘The Mummy’ Revived Over at Dimension as Low Budget Fare
While capturing what Paranormal Activity had is like winning the lottery, the lesson it should be delivering is that a studio can make a good movie for a modest budget. Sh*t, with the announcement of J.J. Abrams’ Super 8 this morning, it had me thinking back to the success of Cloverfield, and then shaking my head in dismay. Not a single studio learned a thing from Abrams. It took a $15k indie film to knock some sense into these fools. Anyways, Dimension Films, a studio not known for being smart or frugal, must have received a lobotomy as they’re putting a low budget spin on the resurrection of The Mummy! Read on for the skinny.
From the LA Times:
“Dimension Films, the genre label run by Bob Weinstein, is making a deal to develop The Mummy Archives, described as a more artful and modestly budgeted version of “The Mummy,” the insanely lucrative Brendan Fraser franchise.
The film will focus on several young people who are haunted by a mummy curse, with the action playing out very much in the unseen realm, as both the audience and the characters frequently experience the effects of the curse without seeing it explicitly.
The project comes with some appealing names: Gonzalo Lopez-Gallego, a young Spanish genre director who attracted quite a bit of heat a couple years back for his Spanish-language thriller “The King of the Hill” (“El Rey de la Montana,” which the Weinstein Co. released in the U.S.), is in final negotiations to write the screenplay and direct the film. Douglas Wick, the veteran producer behind mega-hits such as “Gladiator,” generated the idea and is in final negotiations to produce the film through his Red Wagon Entertainment banner.
In its 11 years of existence, Universal’s “Mummy” franchise has generated more than $1.2 billion in global box office across three films. But those movies are CG-dependent and pricey to make, and in the wake of “Paranormal Activity,” studios are looking for the big breakout that doesn’t cost big money (including companies like Dimension that have always been budget-conscious). The budget for “Mummy Archives” is expected to be in the $5-million range, a number that allows for some lean and mean storytelling but isn’t high enough to spook anyone.“
Judging from the unprecedented box office success of Kane Parsons’ Backrooms adaptation, you’ve likely already seen the liminal horror hit that managed to make audiences afraid of empty hallways and bad wallpaper. And now that so many of us have already entered the yellow labyrinth (some of us more than once), the time has come to discuss the spoiler-filled details that make the movie so fascinating in the first place.
And if there’s one element here that makes the Backrooms movie stand out from any previous lore/mythology, it has to be the genius addition of the Still Life entities. Warped recreations of real people that somehow wandered into the Complex, these misremembered creatures are responsible for some of the most disturbing imagery of 2026 – as well as laugh-out-loud memes created by one of the film’s very own concept artists.
However, true to Parsons’ word that the movie would rely heavily on practical effects, each of these distorted monsters was brought to life by real actors under heavy layers of makeup and prosthetics (with the occasional splash of CGI enhancements). While Anora and If I Had Legs I’d Kick You actress Ivy Wolk wasn’t among these performers, despite what Letterboxd might have you believe, the creature cast did benefit from veteran players with plenty of genre experience.
For starters, Alien: Romulus alumni Robert Bobroczkyi (who previously brought that film’s horrific Offspring to life during its most memorable sequence) plays the flick’s main antagonist, the Still Life version of Captain Clark. And though there was some obvious CGI involved in making the character’s peg-leg and nightmarish face more believable, Bobroczkyi’s monstrous performance and his natural 7’7″ frame helped to make that final chase sequence a clear highlight among this year’s genre offerings.
The film’s Texas-Chain-Saw-inspired “dinner” scene also features a freaky collection of less-aggressive Still Life creatures in the form of the Bearded Man, the Red-Headed Woman and, strangest of them all, the cheekily named “Archibald Leland Sutter Still Life” (who earned this title among fans and crewmembers as a reference to his apparent affinity for lamps).
While this was the first major horror outing for both Patrick Baynham (The Bearded Man) and Dana Mahmood (Archibald), Rhiannon Roberts has worked as a stunt performer in everything from Yellowjackets to HBO’s The Last of Us adaptation – which is probably why The Red-Headed Woman is the most active out of Clark’s impromptu “family.” That being said, the Archibald Leland Sutter Still Life is my personal favorite of the bunch simply because his anachronistic outfit suggests that the Backrooms phenomenon might be a lot older than the Async Foundation. I also love how hard he tries to be helpful with that little light of his!
That might be it for the Still Life entities, but I think horror fans will also be pleased to hear that the film’s Found Footage prologue stars none other than Resident Evil: Welcome to Raccoon City star Avan Jogia as Naren Warne – and American Mary herself Katharine Isabelle also shows up in a blink-and-you’ll-miss-it cameo at Mary’s house party towards the middle of the story (though I have a feeling that she originally had a bigger part that was likely cut for time).
At the end of the day, Parsons’ Backrooms may have been an auteur-driven project motivated by the young director’s unique take on the classic creepypasta, but film has always been a collective artform, so it’s fun to see just how many talented performers it takes to bring this kind of supernatural nightmare to life in a way that connects with so many people.
You must be logged in to post a comment.