With The Mummy 4 officially greenlit, there’s reason to celebrate. Rachel Weisz is confirmed to be reprising her role. And without Brendan Fraser, no continuation can take place. And for that, many fans are cheering, myself included. Also potentially on the roster is Oded Fehr. Although he is busy with Star Trek: Starfleet Academy, the hope is that he has interest in returning too. The release date of May 19, 2028!
But in what remains unclear is whether Stephen Sommers will be involved in any capacity. No further information has been made since the prior announcement. His two films were not just action spectacles, but also true pulp adventures. This director revived the spirit of the classics, and edged it towards classic Indiana Jones territory. They also had that sexiness and suave of those Doc Savage radio dramas. And in an era where Egypt was being discovered, danger can be hidden anywhere!
When The Mummy: Tomb of the Dragon Emperor arrived, the expansion of the world and the change in cast were noticeable. It remains unclear how much of that Sommers approved behind the scenes, but the shift in direction was not for everyone. The larger issue may have been where O’Connell’s story could go after the second film, since that chapter felt complete. Whether director Rob Cohen influenced the writers in shaping the narrative is a production detail that was never fully revealed.
The film leaned further into spectacle, though perhaps at the expense of pageantry and character nuance. Weisz herself noted that the script was not particularly strong, yet the production moved forward and the role was ultimately recast. Universal should’ve really paid attention to her criticism, since her character is key to its longevity, and not what the Hollywood machine pumps out.
It would be simplistic to blame one creative alteration for everything. Blockbusters are shaped by studio mandates as much as by the creative instincts directors bring to the table. In 1999, audiences were eager for colourful, romantic adventure. By 2008, expectations had shifted. The blockbuster era was leaning toward darker and more grounded narratives.
Still, Sommers’ absence from early reports about this fourth entry raises questions. His involvement, even as a producer, would signal continuity. Not necessarily control, but stewardship. Without that guiding voice, the creative team must demonstrate they understand what made the series resonate.
Part of that appeal lay in bringing Ancient Egypt to life. Beneath the sands were lost citie, forbidden maps, and cursed treasures. Rick and Evie stood at the centre, unlikely protagonists whose romance unfolded amid warnings that it is best not to awaken the dead. The mystery of her reincarnated past lingered in the first film. Answers came in the sequel, revealing that both Evie and Anck-su-Namun shared ties to Seti’s court in a previous life. Questions of identity and possession added mythic weight to the adventure. The trilogy thrived when these two, alongside the ever-hapless Jonathan, stumbled into forbidden corridors and awakened forces older than themselves. When that balance shifted, so did the magic.
On the other side of the equation is Brendan Fraser’s return. His resurgence was not engineered by franchise marketing. It emerged from performance.
The Whale reminded audiences of his depth and vulnerability. Long before that, from Gods and Monsters to George of the Jungle, he proved he was more than a one-note action lead. The industry may have typecast him after the trilogy, but time has reframed him.
The question now is not whether Fraser can still carry an action film. It is how Rick O’Connell evolves. He is no longer the brash 30-something adventurer. As a seasoned performer in his late 50s, the role must reflect lived experience. Legacy sequels like Indiana Jones and the Dial of Destiny have already tested the waters of aging heroes navigating modern eras. The success of The Mummy 4 may depend on whether it embraces that reality rather than disguises it.
If this film attempts to recreate 1999 frame by frame, it risks feeling embalmed. Nostalgia alone cannot sustain an adventure. Sincerity might.
The original films had a distinctive rhythm. They were earnest without being naïve. They had fun, but never at the expense of the story.
Whether or not Stephen Sommers ultimately returns, the larger challenge remains the same. It has to follow up on what was said before, whether we like it or not. Too much reinvention and it loses its soul. Having one person showrunning all the way through, like in how Spielberg handled all the Jurassic Park and World spinoffs, is key to The Mummy’s immortality. With 2028 marked as the year the dead will rise again, there is time to shape something worthy of the franchise’s legacy. Its Egyptian roots remain the strength. The hope is simple. Bring back the heart of adventure. The rest will follow.
The Mummy 4 TL;DR
• Stephen Sommers’ involvement remains unconfirmed
• His absence could impact the franchise’s pulp adventure tone
• The original trilogy thrived on sincerity, romance, and mythic spectacle
• The sequel’s success depends on stewardship, not nostalgia alone
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