Correctly ascertaining that auds will be less interested in the outcome than in the obstacles along the way, Levasseur plants and executes the pic’s exclamation-point scares with grinning, squelching gusto. It matters little that most of the jolts have been lifted from previous movies, given that much of the borrowing is from films (a Hammer Horror curio here, Renny Harlin’s “Deep Blue Sea” there) that were once cut-rate knockoffs themselves: Such hand-me-downs are still cheaply effective, and all the more endearing for their familiarity. The sight of a character impaled on an old-fashioned bed of wooden stakes, nibbled at by screeching Sphynxes, is somehow revolting and reassuring all at once.
Late in this echoic narrative, however, writers Nick Simon and Daniel Meersand do pull off one disorienting reveal: While this particular pyramid appears to be a mummy-free zone, a climactic literalization of ancient Egyptian theology is as luridly unexpected as it is patently ludicrous. Quite how alien invasion figures into the folklore, however, is a mystery for sharper minds than those presented here. (One scientist’s guileless response to the identification of dried blood on a spear: “What does that mean?”)
-From the Variety.com review by Guy Lodge
Wow, that first paragraph started out so promising, and then the second talked us out of going out of our way (i.e. leaving the house) to see The Pyramid. We’d hoped it would be worth it due to Alexandre Aja being involved, but it doesn’t sound like the good outweighs the bad, and we’ve read several reviews; this is one of the more positive ones. We will warn you up front that this is the most spoiler-ish review we’ve read in terms of plot details, so skip it if you (still) plan on plunking down money to see this one and want to preserve as much surprise as possible. It doesn’t give away the ending, and most reviews mention the impalement scene, but they are pretty casual about a couple of reveals.
To read the entire Variety review, click “View original” in the lower left.