Perry Kate Very very predictable, including the post credit scene !!!

Exoticalot People are voting emotionally.

Matialth Good concept, poorly executed.

CrawlerChunky In truth, there is barely enough story here to make a film.

Platypuschow Hammer movies have always been a tad hokey and that's forgivable, some sloppy writing however isn't.This is the second Hammer Horror movie from "The Mummy" franchise and this time the star power has taken quite a dip. No longer did they have the presence of Christopher Lee and Peter Cushing and that really showed.It tells the story of a rich American who plans on making the opening of a mummy's sarcophagus a tourist event in order to make money but oddly enough things don't go quite as planned.The film looks great, the performances though spotty are mostly passable and the Hammer Horror brand of musical score is present. It's all very colour by numbers stuff, but that's okay.Sadly the writing is inconsistent, some is poor and some is baffling especially when it comes to character development.Passable stuff but again this underlines why though I appreciate Hammer Horror I've never exactly been blown away by it.The Good:Looks greatThe Bad:The absence of the likes of Cushing/Lee is very damagingThe bulletproof bandages have returned!Mummy actually looks worseNo character consistencyAwful cover artThings I Learnt From This Movie:Belly dancing is sexy or awkward, never anything inbetween

Nigel P Produced and directed by Hammer executive Michael Carreras, this film opens up in classic low-budget style: footage of camels tearing across a real desert fade into close-ups of blacked-up actors in a studio set, where the elderly father of drippy, fickle-hearted heroine Annette Dubois (Jeanne Roland) is killed and has his hand removed by ruffians. Carreras also wrote this under the pseudonym Henry Younger.'The Curse…' has not found a huge amount of favour from fans over the years, but I really like it. Apart from the opening sequence, it looks to be an expensive production, features a first rate cast, features some gruesome moments – and features Michael Ripper as a wonderful (if unlikely) wide-eyed Arab called Achmed.George Pastell makes an appearance, the second cast member from Hammer's original Mummy film to appear here. Fred Clarke, renowned American comic actor, plays the larger than life Alexander King (who, it seems, invented the term Turkish Delight in this film) arrogantly determined to milk as much money from the Mummy as possible, but lives (or dies) to regret it. Jack Gwillim is very good as pickled, deflated Sir Giles Dalrymple (whose demise is the film's highpoint in my view), whilst underrated actor Terence Morgan excels as villainous and debonair Adam Beauchamp, who is more interesting than stuffy square jawed hero John Bray (Ronald Howard).The Mummy (Dickie Owen) is a curio. He seems slight compared with the usual culprits, and has a clay-like face, giving him a Golem-like aspect. But he is directed very well, and his kills are often accompanied by nothing but the sound of his deep, rhythmical breathing, which makes up for his less than intimidating bearing.It is true to say that the story takes a while to get going, but is a solid telling of typical Mummy revenge, and certainly livens up once the resurrected Ra-Antef begins his killing spree, and remains compelling until the exciting sewer-based finale, in which Beauchamp is also relieved of his hand.

TheLittleSongbird A shame, because a lot of Hammer's films are great or at least very entertaining. But unlike 1959's The Mummy directed by Terrence Fisher and starring Christopher Lee and Peter Cushing, The Curse of the Mummy's Tomb is not one of their finest hours. Not unwatchable by all means but very much a lesser effort for them.The Curse of the Mummy's Tomb is a good-looking film at least, thankfully not having the rushed and made-on-the-quick-and-cheap production values of the Universal Kharis Mummy films. The chilling Hammer atmosphere is present in how the film looks, with the sumptuous Gothic sets, lush photography that does a fine job evoking some atmosphere, much tighter editing and rich bold colours. The music score is hauntingly stirring, and while The Curse of the Mummy's Tomb is too often dull it really does pick up in the final twenty minutes. The final twenty minutes make the film, with the film being at its most horrifying and suspenseful by some considerable distance, with some gruesome but not overly-gratuitous shocks(i.e. the amputation scene) and a tense and exciting sewer chase.Regarding the acting, the supporting cast fare far better than the leads. George Pastell brings a lot of charisma to his role, Jack Gwillum is movingly sympathetic and in particular Fred Clark plays a very sleazy character with intensity and lively and often funny comic timing. The very much-forgotten Dickie Owen, while just lacking the imposing creepiness of Christopher Lee and the pathos of Boris Karloff(much better than Lon Chaney Jnr though, at least Owen's heart seemed in it), is still a very formidable Mummy and is aided by some cool make-up. One just wishes he was on screen for longer and was introduced earlier.On the other hand, the pacing really hurts The Curse of the Mummy's Tomb. It starts off well, but for at least three quarters of an hour(most of the film), the film is very tediously paced and painfully predictable, with the less eventful scenes dragging interminably and even with a few surprise twists here and there everything just felt very over-familiar. There is very little tension, thrills or sense of dread or horror, further let down by a pointless and saccharinely written love triangle that takes up far too much of the film. It also feels far too talky and stilted, with the romantic parts being truly banal, the humour while sometimes amusing and well-played at other points overdone, unneeded or not the best placed and the speeches, sideshows and history lessons didn't properly maintain interest.While the supporting cast acquit themselves well, the three leads aren't too great. Ronald Howard is the least bad, but he has given far more involved performances, he has presence but at other points he sleepwalks through his role. Terrence Morgan is a wooden bore, though that his character is very underwritten doesn't help in, but Jeanne Roland fares the worst. Despite her exotic looks, Roland spends the entire time looking lost and is not always easy to understand, at worst incomprehensible. Michael Carreras has his moments, he shines in the last act with some of his visual directing and storytelling being almost worthy of the best of Hammer, but most of it sadly is very routine, competent and technically accomplished but he forgets to make the story and characters interesting so fails to engage the viewer as a result.All in all, despite it coming to life in the last twenty minutes amongst a few other things, The Curse of the Mummy's Tomb is one of the lesser and duller Hammer films. 5/10 Bethany Cox

mlraymond This is a very slow film, with a not very frightening monster, a rather dull romance, and some pretty unconvincing backgrounds.That said, it does have its moments of excitement, and the basic story manages to hold one's interest, if you can get through the long stretches of expository dialogue.The parts that stay in my memory the strongest are those involving the tragic figure of archaeologist Giles Dalrymple, played by Jack Gwillim.This dignified older man has a weakness for alcohol, and as his embarrassment at being an unwilling participant in the hokey show biz presentation of the mummy by the American impresario increases, his drinking gets worse. There are a couple of truly memorable and sad scenes involving his boozing, one where a housekeeper tries to persuade her employer to eat supper, as he pours himself the latest of many drinks and insists he isn't hungry.The other is an uncomfortably convincing scene of Giles trying to be helpful to a younger colleague, who is translating a manuscript, and Giles clumsily spills his drink on the ancient parchment. The younger archaeologist has been trying to restrain his impatience and discomfort with the awkwardness of his mentor being intoxicated, but he loses his temper and curses Giles for being a drunken old fool. The actor's look of chagrin at what he has just said is completely real, as is Giles' sad, low key response, as he looks shocked at first, but says " So I see I've lost your respect now, also", and the younger man tries to pretend he didn't mean it.This scene is perhaps the most memorable of the entire film, and quite moving. It's a small moment in the convoluted tale of the mummy and the curse, but a striking one, nonetheless.Having recently acquired a copy of this movie and seen it twice, I am struck by the idea that the basic storyline is rather intriguing, and might have made for a much more exciting picture. I think the main problem is that the leads are not terribly interesting personalities and/or that their characters are under-written. Imagine the possibilities if Christopher Lee had played the part of Adam Beauchamp instead of Terence Morgan, or Richard Pasco had played John. Terence Morgan gives his role a good try, but I can't help feeling that Lee would have brought a really intense, evil charisma to the part of Adam that would have made Annette's attraction to him more believable. Also, imagine the level of intensity and fire that Pasco would have brought to the role of John, with serious conflict between him and Adam over the love of Annette.I think this is not really a bad film at all, but it could have been better, with more inspired casting.