A local news reporter finds herself in a chilling encounter with a murderer seeking to share his sinister tale in the independent feature film, “The Mummy Murders.”
Exploring the intricate web of serial killers has been a recurring theme in both cinema and television. While the genre sees a consistent influx of releases each year, the list of truly iconic serial killer thrillers remains surprisingly concise. Classics like “The Silence of the Lambs,” “Se7en,” “Manhunter,” and “Zodiac,” along with noteworthy Giallos, stand out amidst the relatively limited array.
Enter Colin Bressler, the creative force behind the compelling short film “No Promised Land,” previously featured on Screen Critix. Now, Bressler returns with “The Mummy Murders,” a film he not only directed and produced but also co-authored the screenplay alongside Will Donahue.
Commencing with a seemingly mundane domestic scene, the film unfolds in a living room where a young woman engages in the routine task of laundry amidst the rhythmic beats of dance music, accompanied by the kaleidoscopic play of disco lights on the walls. An ominous touch interjects as a pair of hands cautiously opens a window, introducing an undercurrent of tension. The young woman navigates through her home, and as she returns to the table to retrieve freshly laundered clothes, a sudden scream pierces the air, plunging the scene into darkness.
The narrative swiftly transitions to the following morning, where a police officer cautiously infiltrates the premises, his mission to uncover any traces of life within. However, what awaits him is a haunting tableau: the young woman, frozen in an eerie stillness, seated rigidly on the sofa, adorned in an antiquated dress that adds a disconcerting layer to the macabre discovery.
We are then introduced to Alexis (Leila Annastasia Scott), a news reporter immersed in the solitary ambiance of a bar, seemingly savoring a cup of coffee as she diligently works on her laptop. Her solitary pursuit of work is abruptly disrupted by the entrance of an assertive, bald man sporting eyeglasses, later identified as Joe (portrayed by Jason Scarbrough). Joe is unwavering in his insistence on sharing his story with Alexis, assuring her that it holds the potential to propel her career to the uppermost echelons of news reporting—a story that transcends the realms of imagination and constitutes the dream assignment every reporter aspires to cover.
Alexis swiftly discerns that she is engaged in conversation with none other than the perpetrator behind a series of recent murders, colloquially termed The Mummy Murderer. However, in an unexpected twist, Joe elucidates that while he doesn’t mummify his victims, as the moniker suggests, he opts for the method of embalming.
Subsequently, we embark on a narrative dance through time as Joe narrates his tale to Alexis. He delves into the poignant episode of his mother’s demise, a haunting scene painted vividly as she convulses with foam around her mouth while embracing a toilet. Joe candidly recounts his initiation into the world of murder, recounting the chilling details of his first victim, Tammy. Throughout this unnerving exchange, Alexis grapples with an escalating sense of trepidation, particularly when confronted with the ghastly spectacle of a freshly severed finger—its unfortunate owner still clinging to life, albeit with a rapidly diminishing thread of existence. As the narrative unfolds, Joe concludes his story, paving the way for the duo to part ways.
In the aftermath, Alexis ascends the ladder of success with a book derived from Joe’s harrowing chronicle, ultimately achieving the coveted status of a New York Times bestseller. However, the sinister undertow of Joe’s malevolence persists, leading to a cataclysmic climax that shatters any illusion of closure or triumph.
Coming across like “An Interview With A Serial Killer,” The Mummy Murders stands as a testament to a laborious endeavour, where considerable dedication is palpable in the meticulous efforts invested to elevate the film’s overall ambiance beyond the constraints of its budget. However, the audio quality reveals intermittent disparities, manifesting in varying degrees of crispness across the dialogues. On the visual front, credited to the adept Colin Bressler himself, the cinematography largely impresses, with well-crafted lighting arrangements that effectively contribute to the film’s visual allure.
Given the financial constraints and the modest crew at their disposal, expecting The Mummy Murders to rival the classic thrillers mentioned earlier would be an unrealistic proposition. However, Colin Bressler manages to carve out an intriguing and well-crafted exploration into the psyche of a calculated yet evidently deranged antagonist.
The Mummy Murders is to be released on iTunes next week and is currently available for pre-order via https://itunes.apple.com/us/movie/the-mummy-murders/id1719354661.
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