Thehibikiew Not even bad in a good way

Infamousta brilliant actors, brilliant editing

Bessie Smyth Great story, amazing characters, superb action, enthralling cinematography. Yes, this is something I am glad I spent money on.

Sarita Rafferty There are moments that feel comical, some horrific, and some downright inspiring but the tonal shifts hardly matter as the end results come to a film that's perfect for this time.

alexanderdavies-99382 "Blood From The Mummy's Tomb" is one of Hammers greatest films from the latter period. This film has a better than average screenplay and with some outstanding direction from Seth Holt in his final film. Andrew Keir and James Villiers share the acting honours but Valerie Leon does well in her dual characters.This movie deserved better advertising when it went out on general release. It was released on the lower half of another Hammer horror film. Given the slightly troubled production, it is a wonder "Blood From The Mummy's Tomb" was made at all.Peter Cushing leaving the production after only a days filming and Seth Holt suddenly dying about 10 days before the end of shooting,led everyone involved to believe their movie was cursed.Michael Carraras finished the film himself after assuming directorial duties.The end result is brilliant - a low key approach with only the necessary cast required, some fine photography and music all contribute to the film's success.The Mummy films were never Hammers best but this one is able to infuse the familiar Mummy story with something a bit more original.

alleycee ...This film should be essential viewing, for one reason only. It has the best cinematography I have Ever seen, and I am a big Bladrunner fan. the scene comes half way through the movie, when the Tera-force has killed the guy to reclaim the wolf sculpture, and her fiancé is walking through an alleyway, about to discover the body.The camera tracks him slowly moving forward, toward a high street with a phone booth, and then tracks back with him to a junk yard where he sees the shadow of a wolf scurry away. 1) everything is in Vivid, Precise focus - the foreground, the subject, the far background - picking out every greasy smear and rough texture in that alley, and 2) its all in Heightened Saturated colour - a Gloomy rainbow of muted blues and invading greens, all created from scratch, in broad daylight in a pokey little British studio - lovingly crafted and set-dressed over what must've taken hours to get that outside look. But consider that the camera is moving a large distance as well - there's none of this shaky steadicam or abrasive cutting that used to plague budget old films like this - the whole scene is smooth, fluid and graceful, like only an Enormous Budget and the Best Crew could produce these days. And finally, and most importantly, 3) throughout the entire shot there is an isolated, hanging Miasma of Mist, slowly morphing and twisting in space, just in front of the Character, almost as if they have caught the apparition of a ghost live on film - it provides a shifting, sinister focus and, even today, I'm not sure most filmmakers would know how to begin creating such an effect, more less actually film a prolonged, kinetic sequence of acting around it. truly remarkable.Hammer Studio's was always about Control like this - the loving care and attention to the sets and scenery and photography and staging of the scenes to be shot - and this film is the antithesis. Of course, it was also the studio's downfall, because tastes in the 70s then progressed to raw, rough and real-looking filmmaking, as in the Exorcist and Texas Chainsaw ... But for old school Mastery and Expertise, this film showcases some wondrous talent

Leofwine_draca Hammer's fourth and final outing into Egyptian territory is a hit-and miss-affair which is still worthwhile for the wonderful atmosphere it casts in places. The reason for the film's disjointed feel is that the production was beset by tragedy - almost as if a real life curse was at work. First off, star Peter Cushing's wife died and the actor had to be replaced by Andrew Keir. Secondly, the director of the film, Seth Holt, who had made the wonderful TASTE OF FEAR some ten years before this, suffered a heart attack, leaving Hammer regular Michael Carreras to take over the directorial duties. Thus the film seems to jump from scene to scene sometimes without any warning and there are definite issues with the pacing and general cohesion despite what should be a relatively simple plot. On the plus side, it's a lot different to the typical mummy film which involves a bandage-wrapped corpse seeking revenge, and it deserves kudos for trying something different. The film is based on Bram Stoker's novel THE JEWEL OF THE SEVEN STARS, as was 1980s horror 'epic' THE AWAKENING and the low budget '90s feature BRAM STOKER'S LEGEND OF THE MUMMY.The actors certainly aren't at fault. Andrew Keir makes the most of his bed-ridden role although he doesn't have a great deal to work with here, while James Villiers is a memorable villain. Valerie Leon, a stunning actress familiar from her roles in numerous CARRY ON films is easy on the eye and equips herself well with the dual personae. Really, I think she's one of the most beautiful of all British actresses alongside Hazel Court and the film is almost a love letter to her sheer physical perfection. It helps that she's often dressed in little more than jewels or a negligee (depending on whether she's playing the mummy or her reincarnate victim) that ably show off her quite stunning figure.The special effects budget is obviously low, with set-bound locales, but the gore is quite plentiful with lots of torn throats dripping blood. The budget, or lack thereof, is a sore remainder of the constrained budgets that Hammer faced at this time. There is a memorable scene involving a patient in an asylum who is attacked by mysterious forces (the best scene of the film actually) but the film suffers from an abrupt downbeat ending; it feels like this could have been expanded upon while some of the early scenes could have been excised. BLOOD FROM THE MUMMY'S TOMB isn't one of Hammer's best, but if you are looking for an Egyptian curse story that's a little different then I would recommend it as it's quite unusual compared to the rest of the company's work.

punishmentpark Wonderful (kitschy) atmosphere in yet another Hammer production. In the story and dialogues there's quite a few interesting ideas, more and more focusing on Margaret Fuchs and her sort of coming of age, and struggle with good and evil accordingly.The last half hour doesn't really deliver though; some running up and down a forest and dialogues that stand in the way of horror and suspense. The very end, where Margaret is in a modern way embalmed and doomed to silence, is more funny (but not really, if you know what I mean) than anything else. Not what that fine first hour deserved.The scene with the snake in the institution would have scared my socks off had I been younger, now it was just pretty good and atmospheric. There's also lots of gore, but especially the part with the bleeding arm was not very impressive.All in all still a positive rating - really too bad about that final half hour.