mummy

Wyatt-Hodge always been one of England’s most fascinating cricketers. She jokes and smiles, but that should never be confused with anything but fierce determination.

As a cricketer, she as resilient as they come.

Wyatt-Hodge made her debut in the same Mumbai ODI as Heather Knight and the pair are now the longest-serving members of this England set-up.

From the World Cup win at Lord’s in 2017 to last year’s Ashes drubbing down under. Together they have witnessed it all.

But while Knight was front and centre nine years ago as captain, Wyatt-Hodge was a bit-part player. She played five matches before others returned from injury for the trophy tilt.

Now, at 35, there is still time for this career’s defining chapter.

While Wyatt-Hodge took her parental leave, debate bubbled about who would be England’s openers when the big time came in this tournament.

Sophia Dunkley’s form faltered and Amy Jones was promoted. The one certainty, despite her absence, was always England’s diminutive right-hander.

Bleary-eyed from the sleepless nights, she made 29 when she did return against India last month in Bristol. Three single-figure scores followed but again England did not waver.

“Some people just need a bit of pressure and a bit of ‘something’ on a game,” said another former team-mate Katherine Sciver-Brunt, who watched on from the commentary box.

“This is exactly the sort of environment she needs.

“As a cricketer you can thrive or you can go within yourself, and she thrives with situations like these.

“Don’t be surprised if she is the highest run-scorer of this tournament now.”

It was also fitting that when Wyatt-Hodge reached three figures, captain Nat Sciver-Brunt was at the other end.

Like Wyatt-Hodge she is a cricketer and mum. Like Wyatt-Hodge she rocked her bat to celebrate reaching three figures at last year’s 50-over World Cup.

Coincidentally both tons were against the same opposition.

“It was really nice to have her in the middle to celebrate that hundred – two mummies,” Wyatt-Hodge said.

“I got a bit nervous at the end when the crowd was cheering me on. Nat said just take a breath and time it. I was really determined.”

As Wyatt-Hodge took the crowd’s acclaim and left the field, it was the jettisoned Dunkley who met her first by the boundary edge.

There is a togetherness building in this squad and Wyatt-Hodge is one of its most popular members.

“It was pretty emotional. A few of the girls said they had a few tears,” she said of those moments returning to the dressing room.

It was Graham Gooch who coined the phrase ‘Daddy Hundred’. This was one of the mummy variety.

After everything, few are more deserving of this moment in the sun than Wyatt-Hodge.

How’s Lee Cronin doing? Fine. You know, still making movies. This one’s his third feature. Somebody — perhaps it was Lee Cronin himself, probably not — wanted us to know that his latest project, “Lee Cronin’s The Mummy,” was no mere mummy movie. Certainly not the one you have in mind: bandaged dead guy, ominous hieroglyphics, maybe Brendan Fraser. This is not that mummy movie. This is “Lee Cronin’s The Mummy.”

As for what that possessive credit means, we’re still in a haze. Cronin’s previous outing was “Evil Dead Rise,” a sequel heavily devoted to the gooey game plan mapped out by Fede Alvarez’s 2013 rethink of Sam Raimi’s gross-out comedies. In our current moment, when horror seems to be mining an especially rich vein (we’ve even seen an Oscar go to an unforgettable witch in “Weapons”), Lee Cronin represents the safe old ways of dutiful stewardship, getting the job done for a generic night out.

There are worse sins in the world. And sometimes the best way to introduce an ancient Egyptian curse is via a prologue that’s tonally very much like the one in “The Exorcist.” Who is the spooky, smiling woman beckoning to a young girl at the edge of her garden? No matter. The kid goes missing and, eight years later, her American family, since relocated to suburban New Mexico, is still feeling the loss: TV reporter Charlie (Jack Reynor), his haunted wife Larissa (Laia Costa) and their two semi-surly children, Maud (Billie Roy) and Sebastián (Shylo Molina).

When their precious Katie (a game Natalie Grace) is somehow returned to them, though, nearly catatonic with wrinkled, desiccated skin and gnarly toenails that would make a pedi technician shriek, it’s hard to blame them for feeling euphoric. Working from his own screenplay, Cronin barrels over the gaping plot holes — a doctor might have some thoughts here — and gets to the good stuff with the family at home in squirm-inducing close quarters, a live-in demon resting in her bedroom.

“Lee Cronin’s The Mummy” works best as a variation on Ari Aster’s career-making “Hereditary,” slicker and less guilt-ridden, with Grace’s Katie prone to jaw-snapping clicks and faraway looks, a spin on Milly Shapiro’s hypnotic turn as a doomed host. Eventually, things get more obvious: a levitating wheelchair, some skittering around on the ceiling. If Cronin does have a signature — more of a penchant, really — it’s for juicy gore, Katie’s skin peeling off in sheets. She goes to town on her own teeth.

All these moments are good for audience groans and there’s an enjoyable bad movie here for the seizing — that is when Cronin isn’t steering the action back to Egypt for an underpowered mystery thread involving a one-dimensional Cairo detective (May Calamawy) pursuing the root of the trouble. Why deploy a plummy archaeology professor (Mark Mitchinson) if you’re only going to give him a single scene to cut loose? He’s the kind of character who usually makes it to the big finale.

The film is tangled in its mess of references: a possession thriller that also wants to dish out some grainy video footage à la “The Ring” or “Bring Her Back” along with the expected mouth-to-mouth vomiting. Ironically, an honest-to-goodness mummy movie consumed with exotica (the first one from 1932 was released in the wake of the global mania over King Tut’s tomb) makes a lot of sense right now, with America straying into foreign deserts.

Was that in mind at any point? You’d have to ask Lee Cronin. It’s his movie and these are his mummy issues.