Steineded How sad is this?

Huievest Instead, you get a movie that's enjoyable enough, but leaves you feeling like it could have been much, much more.

Phillida Let me be very fair here, this is not the best movie in my opinion. But, this movie is fun, it has purpose and is very enjoyable to watch.

Delight Yes, absolutely, there is fun to be had, as well as many, many things to go boom, all amid an atmospheric urban jungle.

James Hold I keep reading complaints how the shift from New England to Louisiana is unexplained. It isn't. In the opening bits where the archaeologist talks with the authorities he tells how the priests moved the mummy to Louisiana 25 years ago. (It was perhaps the synopsis of an unfilmed sequel.) Anyhow the dialogue fully explains the shift in location and one needs only to listen to find out. Oh and Virginia Christine is absolutely gorgeous. I only wish they had given her more screen time.Also, Classicsoncall in his review says "We're signaled to the emergence of the Kharis legend by the first appearance of a dead body, but has anyone noticed that the laborer Antoine died with a knife in his back? Kharis always did his dirty work with his left hand, leaving bandage mold behind on the neck of his victims." This too is inaccurate. It was the priest's assistant who killed Antoine after they dug Kharis up. Again it's clearly stated in the dialogue. It's fine and dandy to criticize a movie for its shortcomings but the criticisms should be accurate. Stuff like that can turn off a potential viewer. If you're not going to pay attention to the dialogue then you really have no business submitting an inaccurate review.

TheRedDeath30 I am a sucker for Universal monsters and generally love all of the sequels, but this is probably one of my least favorites as the quality had just really dropped at this point in the Mummy series.Somehow Kharis and Ananka walk into a swamp in Middleton, MA and are resurrected 30 years later in the Louisiana bayou. The make this even worse, there's not any logical explanation given, in fact they act like the events of the previous movie happened right here. They even, somehow, find an abandoned monastery in what has to be the only hill in the bayou, if for no other reason than because every other Kharis sequel had a temple on a hill and sequences on the steps (or in the case of MUMMY'S GHOST a shack on stilts with a mine car ramp).The movie is a mess of stereotypical characters who are given very little depth. An archaeologist rolls into town (you know he's an archaeologist because he wears a Pith helmet) along with his assistant (you know he's Egyptian because he wears a Fez). Secretly, the assistant is the latest in a long line of high priests sworn to protect Kharis and Ananka and he set the events in motion. Along the way we meet a stereotypical swamp resident who's named Cajun Joe just in case we didn't get that we was Cajun and an awful caricature of a black man named Goobie, who's given lots of "Hey massa" lines. All of the movies in the series proceeding this were of some diminishing quality but at least all had some positives to them. There's just nothing in the tank by this point. Even the few violent scenes that we get are pretty lame. I should have known when the movie opens with a song what I was getting myself into.

kevin olzak 1944's "The Mummy's Curse" was the fourth and last of the Kharis series, third to star Lon Chaney in the title role, and the only one not included in Universal's popular SHOCK! television package, having to wait for 1958's SON Of SHOCK, the same fate that befell beloved classics like "Bride of Frankenstein," "The Ghost of Frankenstein," and "House of Dracula." Going from a Massachusetts swamp to the Louisiana bayou is certainly a stretch, but not as much as setting the date an incredible 25 years later. The unexceptional Peter Coe ("House of Frankenstein") is this film's bland High Priest of Arkham, Ilzor Zandaab (his screen time quite limited), his recent disciple, the lascivious Ragheb (Martin Kosleck), providing all the knife wielding villainy to spice up the proceedings. An excavation of the swamp leaves one man dead, the knife still in his back, and a space just large enough for a mummy; shortly afterwards, another finds a hand emerging from its burial place, revealing the now revived Princess Ananka (Virginia Christine), who had gone down with Kharis at the conclusion of "The Mummy's Ghost." Making her way to a nearby lake, the Princess emerges perfectly coiffured (every hair in place!), if a bit wet and amnesiac, spelling death for all those who take her in. There are solid roles for veterans Addison Richards, Holmes Herbert, Kurt Katch, Charles Stevens, William Farnum, and Ann Codee, criminally unbilled as Tante Berthe. Popular years later playing Mrs. Olsen in the Folgers commercials, Virginia Christine scores impressively as Ananka (her natural blonde locks hidden under a jet black wig), light years better than the insipid Ramsay Ames in "The Mummy's Ghost" (her other Universal horror was the doomed prostitute who encounters Rondo Hatton's Creeper in 1946's "House of Horrors"). This marked the end of Kay Harding's brief stardom at Universal ("Weird Woman," "The Scarlet Claw"), while Martin Kosleck, previously seen in the still unissued "The Frozen Ghost," continued his scene stealing ways in "Pursuit to Algiers," "House of Horrors," and "She-Wolf of London." For a role he so fervently despised, Lon Chaney's Mummy again fares well, his frustration palpable, continuously (even comically) one step behind his beloved Princess (the climax finds them both headed permanently to Manhattan's Scripps Museum). This appears to have been the most popular of his three outings, reprising the role in 1959's Mexican "La Casa del Terror" and on television's ROUTE 66 (the 1962 Halloween broadcast "Lizard's Leg and Owlet's Wing," opposite Boris Karloff and Peter Lorre). "The Mummy's Curse" made a total of six appearances on Pittsburgh's Chiller Theater- Sept 25 1965 (following 1963's "Battle Beyond the Sun"), Feb 10 1968 (following 1933's "The Invisible Man"), Sept 30 1972 (following 1944's "House of Frankenstein"), Jan 25 1975 (following 1960's "The Lost World"), Sept 20 1975 (following 1969's "Godzilla's Revenge"), and Apr 23 1977 (following 1935's "Bride of Frankenstein").

dougdoepke Even in America we're not safe as bulldozers unearth the ancient Egyptian mummy and his favorite obsession, Princess AnankaKharis is on the loose again. Of course, being on the loose for this mummified foot-dragger means he's a danger only to those too dumb to run. Fortunately, these movies are loaded with slow-learners. Actually, this is one of the better of the series, with lots of shadowy atmosphere and a really nubile Mrs. Folger otherwise known as Princess Ananka (Virginia Christine). No wonder Kharis is so anxious to carry her off, especially in that flowing white gown. I'd trade for his bandages and gimpy foot any day. And catch her rising jerkily from the swamp. These moves are enough to make you doubt whether she's human or not.Too bad the rest of the cast seems at times to be sleep walking, except for Addison Richards (Maj. Walsh) and Kay Harding (Betty) who manage some lively personality. Peter Coe is a particularly unfortunate choice as the high priest. He sounds about as scary and exotic as my next-door neighbor. But who cares. It's old tangle foot and the moody gloom that keeps fans like me tuned in.