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The Mummy Returns
Movie

The Mummy Returns

2001 • Action, Adventure, Fantasy

Woke Score
2
out of 10

Plot

Many years ago, in Ancient Egypt, the Scorpion King led a menacing army, but when he sold his soul to Anubis, he was erased from history. Now he is only a myth...or is he? Rick and Evelyn O'Connell are still discovering new artifacts, along with their 8 year old son Alex. They discover the Bracelet of Anubis. But someone else is after the bracelet. High Priest Imhotep has been brought back from the dead once again and wants the bracelet, to control the Scorpion King's army. That's not the only problem. Imhotep now has Alex and with the bracelet attached to him, doesn't have long to live.

Overall Series Review

The Mummy Returns continues the pulp adventure style of its predecessor, centering on the happily married O'Connell couple and their young son, Alex. The plot is driven by a quest to save the boy from the resurrected Imhotep and the villain's followers, who seek to gain control of the Scorpion King's immortal army. The narrative strongly validates the nuclear family, portraying Rick and Evelyn's love and willingness to sacrifice for one another as the ultimate force that defeats the selfish desires of the villains. Evelyn is a highly competent female lead who uses both her intellect and fighting skills, complementing her husband's rugged heroism. The film's primary ideological issue from a modern critical perspective is its early 2000s casting, where a central European-looking cast plays Egyptian historical and warrior figures, perpetuating a colonialist adventure trope by placing white characters at the forefront of the narrative's exploration of ancient Egypt. However, the conflict itself is a universal battle between good and evil, without political lectures or self-loathing. The spiritual context is rooted in ancient Egyptian mythology and reincarnation, not modern anti-theist messaging, concluding with an affirmation of true, selfless love.

Categorical Breakdown

Identity Politics3/10

The main heroic figures are a white, Western family whose actions drive the adventure into ancient Egyptian history. Critics noted the casting of Caucasian actors in major Egyptian-heritage roles, including the ancient high priest Imhotep and the Medjai leader Ardeth Bay, which aligns with the colonialist fantasy trope of placing white characters as the central agents in a non-Western historical setting. The plot, however, focuses on a universal struggle of good versus evil and family preservation rather than racial or intersectional conflict.

Oikophobia1/10

The film does not contain any hostility toward Western civilization, its heritage, or its ancestors. The O'Connell family unit, representing a foundational Western institution, is celebrated as the central core of strength and virtue. The plot affirms the protective nature of family and true love as a shield against the ancient, external chaos brought by the villains.

Feminism2/10

Evelyn O'Connell is depicted as a highly skilled, ambitious intellectual who also develops martial arts and swordsmanship skills, but she is not a 'Mary Sue.' Her intelligence and competency are a direct complement to her husband Rick's physical strength and resourcefulness. The film celebrates their traditional, committed marriage and their role as devoted parents to their son, reinforcing a positive, vital view of the nuclear family structure where man and woman operate in a distinct but mutually supportive partnership.

LGBTQ+1/10

The core relationship in the movie is the traditional male-female marriage between Rick and Evelyn, who are focused on protecting their biological son. The plot and dialogue contain no references to centering alternative sexualities, deconstructing the nuclear family, or discussing gender ideology. The structure remains strictly normative.

Anti-Theism3/10

The movie operates within a polytheistic fantasy setting rooted in ancient Egyptian gods, curses, and the concept of reincarnation, making the spiritual framework pagan rather than anti-theistic toward Christianity. The central moral conflict resolves with a clear victory for objective good (selfless, sacrificial love) over objective evil (selfish ambition and betrayal). Isolated dialogue may contain a brief mocking reference to the Bible, but this is not a narrative theme.