Category: Horror

[et_pb_section fb_built=”1″ _builder_version=”4.6.6″ _module_preset=”default”][et_pb_row _builder_version=”4.6.6″ _module_preset=”default” column_structure=”2_3,1_3″][et_pb_column _builder_version=”4.6.6″ _module_preset=”default” type=”2_3″][et_pb_text _builder_version=”4.6.6″ _module_preset=”default” hover_enabled=”0″ sticky_enabled=”0″]

Like the first film, Revenge of the Creature was a hit, grossing $1.1 million at the box office. Unfortunately, while the original was well-received, the sequel wasn’t looked on as favorably by critics, often dismissed as fourth-rate. Regardless, Universal decided to push forward with another sequel the following year, though this one wouldn’t be in 3D. Also, Jack Arnold, who directed the previous two films, felt he had nothing left to contribute to the horror genre. Instead, Arnold recommended John Sherwood, who was a long-time assistant director at Universal, to helm this sequel. While Ricou Browning returned to once again play the Gill-Man underwater, he would be played by Don Megowan on land. For this film, the Gill-Man would be made more of a sympathetic creature and there’d be more human drama added. In April of 1956, The Creature Walks Among Us, the last Universal Classic Monster Movie, was released.

[/et_pb_text][/et_pb_column][et_pb_column _builder_version=”4.6.6″ _module_preset=”default” type=”1_3″][et_pb_circle_counter _builder_version=”4.6.6″ _module_preset=”default” title=”Rating” number=”80″ bar_bg_color=”#7CDA24″ hover_enabled=”0″ sticky_enabled=”0″][/et_pb_circle_counter][/et_pb_column][/et_pb_row][et_pb_row _builder_version=”4.6.6″ _module_preset=”default”][et_pb_column _builder_version=”4.6.6″ _module_preset=”default” type=”4_4″][et_pb_text _builder_version=”4.6.6″ _module_preset=”default” hover_enabled=”0″ sticky_enabled=”0″]

Synopsis

Following the Gill-Man’s escape, a group of scientists led by Dr. William Barton (Jeff Morrow) tries to capture the Gill-Man. They’re joined by Barton’s wife Marcia (Leigh Snowden), though they have been going through marital troubles, mostly because of Barton. It doesn’t help that Barton starts getting paranoid when he notices their guide Jed Grant (Gregg Palmer) advancing towards Marcia. Eventually, the group manages to capture the Gill-Man, but he gets horribly burned in the process. Barton, alongside Dr. Thomas Morgan (Rex Reason), Dr. Borg (Maurice Manson), and Dr. Johnson (James Rawley) perform emergency surgery. Following the surgery, the Gill-Man has shed its gills, grown more human-like skin, and breathes air using a lung system. They clothe him and try getting him used to live amongst humans, but he pines to return to the water. What will transpire now that the creature walks among us?

Review

For a third installment, The Creature Walks Among Us is better than one would expect and goes above and beyond. Admittedly, there’s not as much horror as the previous films, but instead focusing more on human drama and marital disputes. The lack of horror might disappoint old school monster movie fans, but the human drama helps make this stand out. It helps that Jeff Morrow does a fantastic job of playing such a flawed character that you love to hate. There are moments where he explodes at his wife, and they’re oddly among the scariest moments of the movie. Leigh Snowden, on top of looking fantastic in a swimsuit, makes for a strong female lead that you feel for. Gregg Palmer, though he tries hitting on someone’s wife, is a likable character who becomes a father-figure for The Gill-Man. This is strangely a case where the real monster is human.

This film has some parallels to Frankenstein, given the creature becomes more human, wears clothes, and has a similar walk. Also, the creature is much more sympathetic, clearly just wanting to return to his home, even if he can’t. While he does attack the humans early on, he does become attached to Jed since he took pity on him. It’s much like how the Frankenstein monster isn’t necessarily a monster, but more so someone looking for companionship. Speaking of, while the previous films had the creature pursuing the female lead, that’s not the case here. The creature had always been sympathetic in the previous films, but he’s much more sympathetic here, longing for his home. Hardcore horror fans might be disappointed by the focus on drama, but it’s that drama that makes this stand out. Overall, The Creature Walks Among Us is a solid final installment in a long-running series.

Buy The Creature Walks Among Us on Amazon: https://amzn.to/3kP1tHQ

[/et_pb_text][/et_pb_column][/et_pb_row][/et_pb_section]

[et_pb_section fb_built=”1″ admin_label=”section” _builder_version=”3.22″][et_pb_row admin_label=”row” _builder_version=”3.25″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” column_structure=”2_3,1_3″][et_pb_column type=”2_3″ _builder_version=”3.25″ custom_padding=”|||” custom_padding__hover=”|||”][et_pb_text _builder_version=”4.6.6″ _module_preset=”default” hover_enabled=”0″ sticky_enabled=”0″]

Creature from the Black Lagoon was a massive success upon release, making $1.3 million at the box office. Audiences at the time were stunned by its use of 3D, which was a popular theater gimmick at the time. Given its success, it was only natural that Universal would want a sequel almost immediately that was also in 3D. Writer/producer William Alland returned for the sequel, as well as director Jack Arnold and actor Nestor Paiva. Actor Ricou Browning returned to play the creature underwater, while actor Tom Hennesy would play the creature on land. For the leads, actor John Agar, known for numerous John Wayne Westerns, and actress Lori Nelson were cast. Rather than returning to the Amazon, this sequel would find the Gill-Man being taken to civilization similar to King Kong. The following year saw the release of Revenge of the Creature in May of 1955.

[/et_pb_text][/et_pb_column][et_pb_column type=”1_3″ _builder_version=”3.25″ custom_padding=”|||” custom_padding__hover=”|||”][et_pb_circle_counter _builder_version=”4.6.6″ _module_preset=”default” title=”Rating” number=”85″ bar_bg_color=”#7CDA24″ hover_enabled=”0″ sticky_enabled=”0″][/et_pb_circle_counter][/et_pb_column][/et_pb_row][et_pb_row _builder_version=”4.6.6″ _module_preset=”default”][et_pb_column _builder_version=”4.6.6″ _module_preset=”default” type=”4_4″][et_pb_text _builder_version=”4.6.6″ _module_preset=”default” hover_enabled=”0″ sticky_enabled=”0″]

Synopsis

Joe Hayes (John Bromfield) and George Johnson (Robert Williams) venture to the Amazon alongside steamboat captain Lucas (Nestor Paiva). They’re there to find and capture the Gill-Man, who survived his bullet wounds from the last film. The Gill-Man is captured and taken to the Florida Ocean Harbor Oceanarium, where Professor Clete Ferguson (John Agar) examines him. He soon develops a relationship with ichthyology student Helen Dobson (Lori Nelson), who the Gill-Man also takes an interest in. Soon, the Gill-Man breaks free from the tank he’s being kept in and escapes from the Oceanarium to the ocean. Having escaped, the Gill-Man starts pursuing Clete and Helen, ultimately kidnapping her while at a restaurant. Clete gets together with the local police to track down the Gill-Man and rescue Helen. Will he be able to save her in time, or will Helen become the Gill-Man’s latest victim?

Review

Revenge of the Creature doesn’t quite capture the magic of the first film, but it’s still an above-average sequel. First off, the design of the Gill-Man is still impressive, and both actors get plenty of movement and expression through. Jack Arnold, once again, does a good job behind the camera, getting plenty of good underwater shots in. While many sequels to the Universal monster movies did more or less the same thing, this one tries something different. Taking the action from the Amazon to an aquarium was a nice way to change things up. John Agar makes for a good leading man, displaying plenty of charm and charisma to keep the audience engaged. Lori Nelson also makes for a solid leading lady, though she falls into the trap of a damsel in distress. Interesting side-note: this film features the on-screen debut of future acting legend Clint Eastwood.

The film’s biggest problem is that, aside from a new setting, it’s more or less the same as the original. It hits on many of the same beats, essentially revolving around the Gill-Man going after the female lead. However, the Gill-Man being taken out of his natural environment adds an element of a primitive creature versus civilized society. It’s similar to the last act of King Kong, but it’s expanded to a full feature rather than a section. Admittedly, after the Gill-Man makes his escape, the film grinds to a halt where nothing really happens. Thankfully, its 80-minute runtime means it won’t each up much of your time, though it feels somewhat padded. This is a case where while it’s a slight retread of the last film, it’s still worth a watch. Overall, Revenge of the Creature is a decent monster movie that’s still enjoyable despite not doing much different.

Buy Revenge of the Creature on Amazon: https://amzn.to/3oHRkia

[/et_pb_text][/et_pb_column][/et_pb_row][/et_pb_section]

[et_pb_section fb_built=”1″ _builder_version=”4.6.6″ _module_preset=”default”][et_pb_row column_structure=”2_3,1_3″ _builder_version=”4.6.6″ _module_preset=”default”][et_pb_column type=”2_3″ _builder_version=”4.6.6″ _module_preset=”default”][et_pb_text _builder_version=”4.6.6″ _module_preset=”default” hover_enabled=”0″ sticky_enabled=”0″]

While filming Citizen Kane in 1941, producer/actor William Alland was told a story by Mexican cinematographer Gabriel Figueroa. He told Alland about a race of humanoid fish-like creatures living in the Amazon, and Alland started writing story ideas. Going into the 1950s, the old Universal monster movies were considered old-fashioned as new atomic horrors started appearing in theaters. Movies revolving around science experiments gone wrong, alien invaders, and radioactive monsters were the new thing at the time. As such, Alland hired writers Maurice Zimm, Harry Essex, and Arthur Ross to further develop his story ideas. Jack Arnold, who previously directed It Cam from Outer Space in 1953 for Universal, was hired to helm the project. The result is considered to be the last of the classic Universal Monsters and one of their more ambitious outings. In early 1954, Creature from the Black Lagoon was released in 3D.

[/et_pb_text][/et_pb_column][et_pb_column type=”1_3″ _builder_version=”4.6.6″ _module_preset=”default”][et_pb_circle_counter title=”Rating” number=”90″ bar_bg_color=”#7CDA24″ _builder_version=”4.6.6″ _module_preset=”default” hover_enabled=”0″ sticky_enabled=”0″][/et_pb_circle_counter][/et_pb_column][/et_pb_row][et_pb_row _builder_version=”4.6.6″ _module_preset=”default”][et_pb_column type=”4_4″ _builder_version=”4.6.6″ _module_preset=”default”][et_pb_text _builder_version=”4.6.6″ _module_preset=”default” hover_enabled=”0″ sticky_enabled=”0″]

Synopsis

Deep in the Amazon, Dr. Carl Maia (Antonio Moreno) uncovers a fossil of a hand with webbed fingers. He brings it back to the marine biology institute to study further with former student Dr. David Reed (Richard Carlson). After looking over the fossil, David convinces his boss Dr. Mark Williams (Richard Denning) to fund a return expedition. Back at the campsite, Carl’s assistants are attacked by an amphibious humanoid creature, who’s the same species as the fossil. Meanwhile, the group boards the steamboat Rita alongside David’s girlfriend Kay Lawrence (Julie Adams) and Dr. Edwin Thompson (Whit Bissell). As they further explore the Amazon, they happen upon the “Black Lagoon”, where the eponymous creature resides. While David and Mark gather samples, the creature falls for Kay and starts stalking her waiting for its chance. What will happen to Kay as she’s being pursued by the Creature from the Black Lagoon?

Review

The 1950s were dominated by cheaply-made and goofy B-movies, but Creature from the Black Lagoon isn’t one of them. It’s easy to see how the titular creature, aka the “Gill-Man”, was considered the last of the classic monsters. Not only does it have a uniquely creative design, but it has sympathetic qualities similar to the Frankenstein monster. If you think about it, the creature is just defending his territory from outside forces it sees as threatening. You could argue that it does try to kidnap Kay, though it’s very similar to the relationship in King Kong. Directing-wise, Jack Arnold does a good job, especially with the underwater cinematography, which was ambitious at the time. Many of the underwater shots seemed to have possibly influenced similar scenes in Jaws, which was made twenty years later. Whether or not Spielberg was influenced, it’s certainly a coincidence.

The Gill-Man was portrayed by two actors, Ben Chapman on land and Ricou Browning underwater, though you’d never know. They both act in a very similar way, and there’s not much of a difference between the two costumes. Speaking of acting, the main cast does a fairly solid job, Carlson and Adams being the highlights. Adams fits the damsel-in-distress role well, though she does act like an equal to the men she’s acting off of. The creature’s design was conceptualized by Milicent Patrick, Jack Kevan building the bodysuit and Chris Mueller Jr. sculpting the head. Under the supervision of make-up effects artist Bud Westmore, they managed to create one of the most iconic characters ever. At 80 minutes long, the movie doesn’t overstay its welcome but takes time to build suspense and tension throughout. Overall, Creature from the Black Lagoon deserves its place with the Universal Monsters.

Buy Creature from the Black Lagoon on Amazon: https://amzn.to/3kDjicx

[/et_pb_text][/et_pb_column][/et_pb_row][/et_pb_section]

[et_pb_section fb_built=”1″ _builder_version=”4.6.6″ _module_preset=”default”][et_pb_row column_structure=”2_3,1_3″ _builder_version=”4.6.6″ _module_preset=”default”][et_pb_column type=”2_3″ _builder_version=”4.6.6″ _module_preset=”default”][et_pb_text _builder_version=”4.6.6″ _module_preset=”default” hover_enabled=”0″ sticky_enabled=”0″]

By the mid-1940s, Universal’s horror films were going down a steep decline in terms of quality. Though there were some highlights including The Wolf-Man and Phantom of the Opera, most were quickly made and cheap. While previous films reused sets and actors, many of the later films went so far as to reuse footage shamelessly. Following the release of House of Dracula, many of Universal’s stock players were let go for various reasons. However, they still wanted to get one more movie out, though for much less money than any film before. Directing duties were given to Jean Yarbrough, whose greatest success was made working with Abbott and Costello. Writers George Bricker and Dwight V. Babcock worked together on what became a rather unusual entry in Universal’s horror series. Finally, in May of 1946, She-Wolf of London was released on a double bill with The Cat Creeps.

[/et_pb_text][/et_pb_column][et_pb_column type=”1_3″ _builder_version=”4.6.6″ _module_preset=”default”][et_pb_circle_counter title=”Rating” number=”80″ bar_bg_color=”#7CDA24″ _builder_version=”4.6.6″ _module_preset=”default”][/et_pb_circle_counter][/et_pb_column][/et_pb_row][et_pb_row _builder_version=”4.6.6″ _module_preset=”default”][et_pb_column type=”4_4″ _builder_version=”4.6.6″ _module_preset=”default”][et_pb_text _builder_version=”4.6.6″ _module_preset=”default” hover_enabled=”0″ sticky_enabled=”0″]

Synopsis

Young Phyllis Allenby (June Lockhart) is engaged to be married to her lawyer boyfriend Barry Lanfield (Don Porter). She lives at home with her Aunt Martha (Sara Haden), cousin Carol (Jan Wiley), and housekeeper Hannah (Eily Malyon). Meanwhile, a series of bizarre murders have the citizens of London in a panic, Scotland Yard suspecting werewolves at play. However, Inspector Pierce (Dennis Hoey) doesn’t believe in werewolves, so he assembles a team to investigate the nearby park. One morning, Phyllis wakes up to find blood on her hands and dress, as well as mud on her shoes. Believing she might be this “Wolf-Woman”, she starts denying Barry as she’s fearful of what might happen to him. Soon, a local detective is murdered after visiting the family mansion, so Barry decides to investigate. Has Phyllis become a psychotic murderer, or is the She-Wolf of London someone else?

Review

Without giving away too many spoilers, She-Wolf of London is somewhat of an oddity in the Universal Classic Monsters series. The film plays more like a mystery thriller than necessarily a monster movie, which is a refreshing change of pace. Granted, at only an hour-long, the film doesn’t take enough time to fully develop its mystery and characters. Thankfully, the acting and moody atmosphere help to elevate the material and make this more of an underrated gem. June Lockhart, who later went on to appear in 1986’s Troll, gives a solid performance as the conflicted Phyllis Allenby. She comes off conflicted as she questions her own sanity and is scared that she might’ve committed murder. Admittedly, Don Porter comes off somewhat bland as her lover Barry Lanfield, but Lockhart’s performance makes up for that. The rest of the cast, while not bad, aren’t particularly memorable save for Sara Haden.

To try and avoid spoiling things, just know that if you’re expecting something like The Wolf Man, you’ll be disappointed. During the nighttime scenes, you never see the supposed “Wolf-Woman”, and there’s a valid reason for it. Much like the characters, you’re never sure if Phyllis actually is a werewolf or if it’s in her head. Everything is left intentionally ambiguous, and you are never shown the murders happening, instead only seeing the aftermath. When the twist happens, the film goes out of its way to explain everything in detail, diluting the impact. Though everything is wrapped up in the end, it feels abrupt and sudden, mostly due to the film’s short runtime. Depending on your expectations, you’ll either enjoy or hate this film, but it’s still worth at least watching once. Overall, She-Wolf of London may not be what you want, but you might be surprised.

Buy She-Wolf of London on Amazon: https://amzn.to/2J7nLXd

[/et_pb_text][/et_pb_column][/et_pb_row][/et_pb_section]

[et_pb_section fb_built=”1″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_row column_structure=”2_3,1_3″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”2_3″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”]

Following the unexpected success of Frankenstein Meets the Wolf Man, Universal wanted to continue doing monster mash-up movies. House of Frankenstein, while somewhat disjointed, proved to be another hit for Universal, so they decided to capitalize on it. Lon Chaney Jr., John Carradine, and Glenn Strange all returned to play the Wolf Man, Dracula, and Frankenstein’s monster respectively. However, instead of Boris Karloff, stage and screen actor Onslow Stevens as the mad scientist, though not quite the same. Erle C. Kenton returned to direct, and Edward T. Lowe, who wrote 1923’s Hunchback of Notre Dame, was the screenwriter. Unfortunately, there were some problems behind the scenes, namely Chaney’s worsening alcoholism and actor Lionel Atwill became ill on set. Sadly, Atwill died only five months after filming due to cancer, and Chaney’s alcoholism led to his Universal contract ending. Finally, December of 1945 saw the release of House of Dracula.

[/et_pb_text][/et_pb_column][et_pb_column type=”1_3″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_circle_counter title=”Rating” number=”75″ bar_bg_color=”#EDF000″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][/et_pb_circle_counter][/et_pb_column][/et_pb_row][et_pb_row _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.27.4″ _module_preset=”default” hover_enabled=”0″ global_colors_info=”{}” sticky_enabled=”0″]

Synopsis

Late at night, Count Dracula (John Carradine) visits the castle of Dr. Franz Edelmann (Onslow Stevens) seeking a cure. Edelmann accepts the task, stating that the best way to cure vampirism would be through a blood transfusion. Meanwhile, Lawrence Talbot/The Wolf Man (Lon Chaney Jr.) arrives, also seeking a cure for his lycanthropy. He’s told to wait by Edelmann’s assistant Milizia (Martha O’Driscoll), but instead, he turns himself over to the police. Initially, Edelmann and Inspector Holtz (Lionel Atwill) don’t believe Talbot, until they see him turn into the Wolf Man. The next morning, Edelmann explains that he and his assistants Milizia and Nina (Jane Adams) have been collecting plant spores. These spores can reshape bone, which Edelmann believes can cure Talbot, all the while Dracula is trying to seduce Milizia. Soon, things get crazier when Frankenstein’s monster (Glenn Strange) is uncovered as terror grips the House of Dracula!

Review

To say the plot of House of Dracula is all over the place would be a massive understatement. There are so many subplots going on at once, it’s hard to condense it all into one paragraph. As scatterbrained as the plot of House of Frankenstein was, it was at least easier to follow than this. Plus, that film gave each of the monsters a fitting conclusion, neatly wrapping everything up by the end. This film, however, feels like a tired rehash, though it weirdly acts as a sequel in the loosest of terms. Granted, many of the Universal monster movies by this point didn’t really follow continuity that closely, but it’s still confusing. For instance, Dracula and the Wolf Man are back despite dying last time, yet Frankenstein’s monster’s death is brought up. It’s like this movie can’t decide if it wants to be a sequel or a reboot.

Gripes aside, there are some positive qualities to the film, namely the performances from Carradine, Chaney, and Stevens. Chaney once again acts his heart out here and is even given somewhat of a happy ending. While still lacking the menace of Lugosi, Carradine still makes for a good Dracula, and he’s given more screen time. Stevens also does a good job, especially when he becomes a sort of Dr. Jekyll and Mr. Hyde type character. His best scene is when he starts threatening a stagecoach driver, acting very creepy and menacing despite the driver’s overacting. Unfortunately, Glenn Strange barely does anything as Frankenstein’s monster, his death being stock footage from The Ghost of Frankenstein. Monster lovers might get a kick out of seeing so many of them together, but it’s otherwise a disappointment. Overall, House of Dracula is another tired entry in a series that’s close to death.

Buy House of Dracula on Amazon: https://amzn.to/3mo4dfF.

Disclosure: The above link is an affiliate link, which means that, at no additional cost, I will earn a commission if you click through the link and make a purchase.

[/et_pb_text][et_pb_code _builder_version=”4.27.4″ _module_preset=”default” hover_enabled=”0″ sticky_enabled=”0″]

Where to watch House of Dracula (1945)

[/et_pb_code][/et_pb_column][/et_pb_row][/et_pb_section]

[et_pb_section fb_built=”1″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_row column_structure=”2_3,1_3″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”2_3″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”]

By this point in the series, Universal was clearly running out of steam with its Mummy movies. The Mummy, released in 1932, was an effectively creepy and moody standalone movie during the early Universal horror cycle. The Mummy’s Hand, while not great, was a decent start to a new series focusing on a new mummy, Kharis. Since then, the series has gone into a sharp decline, each film being no better or worse than the other. Only a few months after The Mummy’s Ghost, Universal was already working on another one. English filmmaker Leslie Goodwins, who directed the Oscar-nominated short Dummy Ache, took charge of Lon Chaney Jr.’s final mummy movie. Almost none of the cast and crew from the previous films return for this, which is fitting considering this film. Finally, in December of 1944, The Mummy’s Curse was released five months after The Mummy’s Ghost.

[/et_pb_text][/et_pb_column][et_pb_column type=”1_3″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_circle_counter title=”Rating” number=”70″ bar_bg_color=”#EDF000″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][/et_pb_circle_counter][/et_pb_column][/et_pb_row][et_pb_row _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.27.4″ _module_preset=”default” hover_enabled=”0″ global_colors_info=”{}” sticky_enabled=”0″]

Synopsis

Twenty-five years after the last film, an engineering company in New Orleans is working to drain the swamp. The locals are wary, believing the mummy Kharis (Lon Chaney Jr.) is buried in the swamp with his bride Ananka. Doctors James Halsey (Dennis Moore) and Ilzor Zandaab (Peter Coe) arrive at the swamp to investigate and find the mummies. One night, one of the workers gets killed, and Halsey is convinced that Kharis has been uncovered and was responsible. Turns out Zandaab is a High Priest of the Arkam sect, and he meets with disciple Ragheb (Martin Kosleck). Meanwhile, Princess Ananka (Virginia Christie), rises out of the swamp and is found by local Cajun Joe (Kurt Katch). Now that she’s around, it’s only a matter of time before Kharis tracks her down, killing anyone in his path. The bayou is about to fall victim to The Mummy’s Curse!

Review

For a finale to the story of Kharis, The Mummy’s Curse ends things off with a whimper, not a bang. First off, you can tell the people making this didn’t care considering the location change made with no explanation. While the previous two films took place in Massachusetts, this film takes place in New Orleans for some reason. Not only that, but this film takes place 25 years after The Mummy’s Ghost, which further adds to the confusion. Also, during this film’s big exposition scene, they use the same flashback sequence from The Mummy’s Hand. Like before, Chaney Jr. mostly stumbles about as Kharis, and the makeup is considerably cheaper looking than the last films. Jack Pierce built a rubber mask for Chaney Jr., which is a good thing considering he hated the makeup. Interestingly, that mask is, to date, the last surviving piece of Pierce’s makeup.

Though this film’s uninspired, there are a few highlights, the biggest being the scene of Ananka rising from the swamp. It’s effectively creepy and goes on just long enough to maintain suspense, benefitting greatly from Virginia Christie’s performance. Speaking of, you can tell that she’s doing the best she can given the material she has to work with. The film’s other highlights are the scenes of Kharis killing people, feeling like a precursor to slashers of the 80s. At only an hour in length, the film drags on to the end, which is anti-climatic, to say the least. After being set on fire numerous times and somehow surviving, Kharis is finally defeated by falling rocks. This film is only worth a watch for Universal horror completionists, but otherwise, it’s not worth your time. Overall, The Mummy’s Curse is a disappointing finale to a series that had some potential.

Buy The Mummy’s Curse on Amazon: https://amzn.to/2TnwFSa.

Disclosure: The above link is an affiliate link, which means that, at no additional cost, I will earn a commission if you click through the link and make a purchase.

[/et_pb_text][et_pb_code _builder_version=”4.27.4″ _module_preset=”default” hover_enabled=”0″ sticky_enabled=”0″]

Where to watch The Mummy’s Curse (1944)

Powered by

[/et_pb_code][/et_pb_column][/et_pb_row][/et_pb_section]