The storyline feels a little thin and moth-eaten in parts but this sequel is plenty of fun.

It’s sentimental, ridiculously long and only occasionally funny

One of the best movies of the year! Incredible from the beginning to the end.

One of the film's great tricks is that, for a time, you think it will go down a rabbit hole of unrealistic glorification.

Hammer's first take on the Mummy and probably their best stab at it--or for me, anyway--perhaps the only one worth watching. Lee and Cushing are back as the 2 great stars, and Yvonne Furneaux makes for a very lovely female lead. This Mummy takes more inspiration from the 2nd wave of the old Universal chestnuts, harking back to Prince Kharis rather than Karloff's Imhotep. As far as the old Universal cycle goes, I assume most horror fans agree that the "Karloff" version is the superior one, but the films with Kharis--mostly the ones with Lon Chaney Jr., are a lot of fun as well. At any rate, the Hammer version sticks to pretty much the same formula--not many deviations aside from the obvious technicolor & the fact that Lee as the mummy, can see with both eyes. Reportedly, after this role, Lee stated that he had had enough of playing mute, heavily bandaged monsters, but his take on the creature is excellent nonetheless. Just a subtle expression or a movement with the eyes can display some great emotion--for those actors with obvious talent.

Hammer remakes Universals' "Kharis" series of 1940s mummy movies, with engaging results, in standard tale of "profaners of the tomb" and the consequences that they must face. In the late 19th century, elderly Stephen Banning (Felix Aylmer), his brother Joseph Whemple (Raymond Huntley), and Stephens' son John (Peter Cushing) lead an expedition that discovers the Egyptian tomb of the Princess Ananka. The mummy watching over things is Kharis (Sir Christopher Lee), who is brought back to England three years later to dispatch Joseph and the Bannings."The Mummy" is not as thickly atmospheric as the best Hammer films, and those Egyptian scenes do look pretty artificial, but it still delivers quite a bit of fun. Lee carries on the tradition of a shambling, stumbling automaton in high style, and his character has the appropriate amount of true physical menace. Plus, Lee is allowed to express a fair amount of emotion through his eyes, the only part of his body not covered by Roy Ashtons' excellent makeup. It's great fun to watch him and his old friend Cushing tussling in action scenes. The very gorgeous Yvonne Furneaux doesn't show up until around the one hour mark, but as the wife of Cushings' character, she does play a rather important role, since Mrs. Banning coincidentally bears a resemblance to the Princess.Aylmer and Huntley are joined by other top British character players like Eddie Byrne (as the police inspector), George Pastell (a Hammer repertory player who often specialized in ethnic roles), the ubiquitous Michael Ripper (in a funny comedy relief role as a drunken, frequently frightened poacher), George Woodbridge (as a police constable), and Willoughby Gray (as Dr. Reilly). Cushing is a delight, as always.Accompanied by ominous music composed by Franz Reizenstein, "The Mummy" is just as colourful and pleasing to look at previous Hammer Gothic favourites "The Curse of Frankenstein" and "Dracula". Definitely recommended.Seven out of 10.

Anything that stars Peter Cushing, Christopher Lee and with them together, plus with Terrence Fisher as director always promises a lot, and The Mummy sure doesn't disappoint. I do agree that the flashback is too talky and goes on for too long, otherwise The Mummy is excellent, for a Hammer film(one of their best in my opinion along with 1958's Dracula) and as a film in general. And from personal view it, although the Boris Karloff film from Universal is great and the 1999 film was enjoyable, is the best of "The Mummy" films.It looks great for starters. It may have been low-budget and done on studio sets but they don't show, the film is shot absolutely beautifully and the colours used are sumptuous but also eerie, the sets are handsome and much is done to make the film as atmospheric as possible like with the foggy grounds. The music score is wonderfully ominous and fits the mood perfectly while never being too obvious and although wordy the script is intelligent and fun with padding thankfully kept at minimum, the flashback excepted. The story is paced well on the whole and is nothing short of enthralling, it doesn't feel too long, it doesn't feel like it's over stretching itself and it doesn't try to do too much. Even better is the atmosphere created, the film is beautifully moody, but the scares that any scene with the Mummy creates makes one's hairs stand up on the back of their necks even from a young adult perspective.Peter Cushing plays his mild-mannered role with marvellous crispness, Yvonne Furneaux is beauty personified and George Pastell is a cool "villain" without falling into cartoon territory(for a character that was in danger of doing so). But Christopher Lee walks away with the film, he oozes with imposing authority as the high priest and is just terrifying as the Mummy, even the look of him freaks you out, a brilliant performance that ranks among his best in a Hammer horror. Terrence Fisher directs adroitly. To conclude, an excellent Hammer horror that has Lee as the main selling point. 9/10 Bethany Cox

Produced during the halcyon days of Hammer Films, with the customary duo of Peter Cushing and Christopher Lee in leading roles, Terence Fisher's film offers an interesting perspective on the story's colonial elements. By uncovering the untouched tomb of Princess Ananka Stephen Banning (Felix Aylmer) has in a sense desecrated the past and deserves to be punished for it. In a sense the Egyptian Mehemet Bey (George Pastell( has a point: what right do British archaeologists have to come to Egypt and raid a tomb, just so that they can take the artifacts back to their country of origin on the pretext of wanting to learn something about the past? Mehemet has a dialog with Stephen's son John (Peter Cushing) on this very subject; John tries to justify his work, but cannot really understand the depth of Mehemet's religious belief.Having said that, Terence Fisher's film is not without its strong colonialist elements. In the studio-bound sequences at the beginning, ostensibly set in Egypt, the locals are represented as slaves and/or coolies simply serving the interests of Banning, his associate Joseph Whemple (Raymond Huntley) and John. They carry the coffins, lay the explosives to blow up the tombs, and carry out the Europeans' wishes without question. There is also the issue of mimicking: Lee has a largely silent role as the Egyptian mummy, save for a flashback scene set in the past where his enduring love for Princess Ananka (Yvonne Furneaux) is revealed.Shot in lurid color, this version of THE MUMMY emphasizes the story's Gothic elements. There are numerous sequences set in the wilderness outside Banning's house, where Mehemet and the Mummy come in pursuit of their victims. The final sequence is straight out of James Whale's FRANKENSTEIN, as the Mummy carries off John's wife Isobel (Furneaux) who bears more than a passing resemblance to the Princess. And there are also two swamp sequences that suggest quite literally that the protagonists are consigned to oblivion - a dark and sludge-like state that houses the living dead.As with all Hammer films, the story unfolds at a brisk pace, with plenty of time allowed for cameos from many of the studio's favorite repertory of performers - Michael Ripper, George Woodbridge. The stately home that served as the studio's offices also serves as the main setting for much of the drama. Little attempt is made to disguise the staginess of the film - especially at the beginning - but there are more than a few shocks to compensate.