The Science Fiction Horror and Fantasy Film Review
This concerns the mythology of Ancient Egypt. The Ancient Egyptians worshipped the sun and many of their myths were centred around the gods who controlled the rise of the sun and fall of night, ruled the underworld and other aspects. Most of the gods are depicted with the bodies of humans and the heads of animals. In later developments, the pharaoh himself becomes one of these gods.
Assorted artefacts from Ancient Egypt turn up in genre cinema, imbued with some power that makes them Magic Artefacts. One common artefact is the Egyptian Book of the Dead, which is frequently seen as holding occult power, but was in actuality a work composed to aid their dead during their journey through the underworld.
Several films deal with Ancient Egyptian gods and occasional efforts to summon them in the present-day. There are even several works that treat the gods of Ancient Egypt as being extra-terrestrial in origin – see Ancient Astronauts.
More prevalent is a fascination with Mummies, which are so common they get their own page, or the tombs of pharaohs, which are frequently seen as bringing curses down onto those who enter them.
Adaptation of Bram Stoker’s Jewel of the Seven Stars about the spirit of an Ancient Egyptian queen possessing a modern day woman. Lavishly produced with a series of novelty deaths modeled on The Omen. Also the first mummy film to actually shoot in Egypt
From the director of Trump vs the Illuminati, gonzo animation where Bigfoot and several resurrected historical figures fight off invading aliens that include Stalin, Aleister Crowley and Anubis
Wonderfully demented and outrageously over-the-top splatter comedy from Jackie Kong that originally started out intended to be a sequel to Herschell Gordon Lewis’s Blood Feast
This has the notoriety of being the very first ever splatter film and served to turn director Herschell Gordon Lewis into a cult figure. Shoddy and unpolished, you have to admit it goes for broke
Blood Feast was the world’s first splatter film. This is a remake with a better budget but suffers a tameness that fails to come anywhere near the go-for-broke rawness of the original
Hammer Films adapt Bram Stoker’s Jewel of the Seven Stars about a revived mummy queen. A troubled production that ended up being one of Hammer’s never-quite-rans
TV movie about an Ancient Egyptian cat vengeance curse. The cast was culled from 1940s genre films and the material feels just as old despite a script from Psycho author Robert Bloch
A copy of The Expendables (albeit with the addition of fantasy elements) that brings together a line-up of B-action movie actors as a team. While some of the actors shine, the feel is of a cheaper effort earnestly trying to copy its betters
TV movie about the historical discovery of Tutankhamun’s tomb by Howard Carter that inflates the tabloid notion there was a curse and so distorts the historical record that it more properly enters the realm of fantasy
TV mini-series that turns the discovery of Tutankamun’s tomb into an Indiana Jones adventure. But everything is played with a constant barrage of one-liners and action sequences so silly you can’t take any of the show seriously
Sequel to The Abominable Dr Phibes that brings back Vincent Price and seeks to replicate the same droll campy humour as before but with more mixed results this time
Luc Besson adapts a French comic-book – sort of a female version of Tintin – with uneven but generally amiable regard. The result is somewhere between an Indiana Jones adventure and the quirkness of an Amelie
A big-budget space opera from Luc Besson. This offers a dazzlingly designed future but the plot is an inane hodgepodge of bad SF elements with a tone that flails between action and camp
Creaky but atmospheric British film where Boris Karloff dies but is brought back from the dead by an Egyptian jewel to stalk his heirs through a big old mansion
This could be considered the Michael Bay version of Ancient Egyptian mythology, a film buried under numbing CGI overkill. For all that, Alex Proyas gives it a loopy grandeur that you can’t entirely dislike
Construed by prolific B movie hack Fred Olen Ray around its two stars – Gunnar Hansen, the original Leatherface, and Scream Queen Linnea Quigley, this hits a perfect note between bimbos, tongue-in-cheek and cheap gore
Comic-book creator Enki Bilal creates a visually extraordinary film about Ancient Egyptian gods awakening in a future New York
The Justice Society of American was the first comic-book superhero team, bringing together all the heroes at DC Comics of the day. This is an animated film devoted to them
This seems to be shaping up to be another entry in the over-saturated low-budget haunted house film. While never straying too far from this, this does throw in some interestingly strange twists
Blumhouse conduct not a reboot but a new mummy film – that has no actual mummy in it and instead seems to have taken most of its moves from The Exorcist. And naturally the title leaves you asking “Lee who?”
Lucio Fulci film about a series of supernatural deaths caused by an Egyptian amulet. An incoherent and plotless mess filled with random supernatural effects and occasional gore scenes
It is hard to believe this ever received a greenlight, a film in which Andrew McCarthy falls for a storefront mannequin (Kim Cattrall) who comes to life. The comedy has an excruciating inanity
The original mummy film starring Boris Karloff. Unlike the sequels where the mummy became a slow, shuffling creature, this is a subtle classic with haunted mood.
Nominal remake of the Boris Karloff The Mummy, which has now been inflated into a big budget Indiana Jones adventure. Stephen Sommers lets the film overspill with CGI spectacle but the exercise is deflated by a jokey, unserious attitude
After their enormously successful revival of Dracula and Frankenstein, Hammer Films and Terence Fisher turned to revive the mummy film, all with the bold, vivid effect of their early films
Low-budget film that would very much like it if we mistook it for one of the Brendan Fraser Mummy films
Sequel to the 1999 The Mummy. Here Stephen Sommers amplifies everything in that film by a factor of ten where the constant bombardment by the spectacular reaches an point of absurd overkill
In a seeming competition for the most ridiculous killer shark of all time, Z budget director Mark Polonia gives us a film about a mummy shark revived from an Egyptian pyramid
This was the fourth and final of Universal’s Mummy films starring Lon Chaney Jr. However, by this point the series had become trapped in a series of repetitive plot moves
This was the fourth and second to last of Universal’s Mummy films with Lon Chaney Jr in the role of Kharis. By now the series has been reduced to a well-worn formula
The first and best of Universal’s Mummy sequels with Tom Tyler in the role, this achieves modest atmosphere
The third of Universal’s Mummy films where Lon Chaney Jr inherits the role of Kharis
Sequel to the Ben Stiller hit offers more of the same with a bigger museum and more exhibits come to life but little else
The third entry in a franchise that seems to be stretching to find anything to do with its premise beyond the first film. Everyone involved seems to have only turned up to collect a paycheque and be going through the motions in a show that entirely coasts by solely on your familiarity with the characters
Popular family hit with Ben Stiller as a night watchman at New York’s Museum of Natural History who discovers that the exhibits come to life at night. More a cute idea than a full film, there is some fun to the characters and effects
The second animated film from DreamWorks, an impressively produced retelling of The Book of Exodus and the story of Moses.
From Kirikou director Michel Ocelot, an anthology of animated fairytales that prove quite delightful
Very nicely made French animated film based around the daughter of the pharaoh Akhenaton
The director of Battlefield Earth teams up with Uwe Boll to deliver a sub-Indiana Jones adventure about venturing into an Egyptian pyramid in search of Ancient Astronauts. The tomb raider cliches are so tired and creaky that the film fails to generate any excitement
The fourth in Charles Band’s most popular series about a group of malevolent dolls. This turns the dolls into good guys and adds an Ancient Egyptian deity who despatches a Terminator robot against them
The first in a series of killer doll films from Charles Band, which has generated some ten sequels. The original has an undeniable atmosphere
A monster movie where the major distinction is that the monster is drawn from Ancient Egyptian mythology and the locale is an unearthed pyramid. The film is too conceptually slim to do much with such an interesting background but it does deliver some solid jumps
Film adaptation of the third of Anne Rice’s Vampire Chronicles, this reduces Lestat to no more than a posturing teenage bad boy and Rice’s languidly romanticised vampires to a laughably pretentious Goth music video
This was the seventh of Full Moon’s most popular series, the Puppet Master films. This goes back to tell how young Andre Toulon (Greg Sestero) originally created the puppets
The Scorpion King films are such a low expectation series that it is hard to drum up enthusiasm for a fifth entry. The rehashes stock sword and sorcery cliches and passes its time forgettably
The first of Roland Emmerich’s special effects epics. Emmerich rehashes Erich von Daniken’s Ancient Astronauts theories but casts it as a planetary adventure on an epic canvas with surprisingly entertaining results
Cheaply made Syfy Channel attempt to copy Roland Emmerich’s 2012 that jumps aboard wacky Erich von Daniken nuttiness but fails to create a worthy End of the World drama due to cut-price effects
Roland Emmerich leaves epic mass destruction behind to make a prehistoric film, but this is one that soon collapses into a remarkable anthropological silliness
A clone of Donald Trump battles The Illuminati and the Egyptian god Anubis on Mars before travelling to Hell to sort out The Devil. The sheer dementia of the premise alone has one sitting down to watch
The seventh X-Men chapter arrives with a certain ennui. Bryan Singer creates some epic scenes but the sprawling ensemble and the series’ ragged continuity makes it hard to invest in the characters, while the new villain looks like a B movie wizard and the mass destruction climax comes surprisingly by the book
An animated film based on the hit playing card phenomenon, which proves largely incomprehensible to anybody not versed in the game