If you don't like this, we can't be friends.

what a terribly boring film. I'm sorry but this is absolutely not deserving of best picture and will be forgotten quickly. Entertaining and engaging cinema? No. Nothing performances with flat faces and mistaking silence for subtlety.

The film may be flawed, but its message is not.

Actress is magnificent and exudes a hypnotic screen presence in this affecting drama.

The Mummy looks like he's wearing an unpressed pair of baggy pajamas. He hobbles around and growls a bit. Very poor mummy make-up. Maybe this was done on purpose, as it seems to be more of an A&C "chase and pratfall" comedy than a monster movie! (Most critics complained the "Jekyll and Hyde" film was too scary.) Other than that, it's almost the last film made for Universal that spanned more than 14 years.A bunch of really tired comedy routines and gags. Only "A&C Meet the Killer, Boris Karloff" is worse. It kind of plays like a cheap Three Stooges "short" in a haunted house! Silly "exotic" dancing and singing. Costello, as always, is pursued by the pretty female villain. Tacky sets (nice marble floors) and a very fake-looking indoor dessert backdrop. Only the last 15 minutes are memorable, with three "Mummys" prancing around and secret passageways everywhere. The running gag is an animated and flying bat and of course a disappearing corpse. Lou eats "the cursed medallion of Klaris" and, after the dynamite explodes, the memory of the now-blown up mummy is celebrated at the night club "Club Klaris" with a mummy-costumed jazz band. How stupid! (Sadly, Lou Costello died four years later from his life-long heart condition and his ongoing weight problem.) I loved this stuff as a kid. In the 1950's it ran for a mere quarter (or a Mars candy wrapper) at a Saturday morning movie matinée! Note: Richard Deacon is best remembered as Lumpy's Dad on "Leave it to Beaver"! His role as the "Egyptian Priest" is beyond terrible!

Abbott and Costello Meet the Mummy (1955) is a spoof on the Kharis films. Instead of the mummy Kharis, Abbott and Costello will meet the mummy Klaris - a single letter change makes all the comical difference in the world. I don't think you will ever see a cuter mummy movie than this one.If you enjoy any of the Abbott and Costello films and love Universal Monsters or simply love comedy-horror in general then this film should tickle-your-fancy. It has all the things that you would ever want for a good mummy story and a comedy-horror.The funniest part of the film comes towards the end where there are three, yes three, mummies! I won't tell you why or how you'll have to watch the film to find out.If you want a fun day I would recommend A&C Meet the Mummy along with Abbott and Costello Meet Frankenstein (1948) and Abbott and Costello Meet the Invisible Man (1951).9/10

Abbott and Costello were a popular comedy team in the early 40s, with their dumbed-down burlesques of life in the Army or Navy. Occasionally they'd branch out, when Universal Studios let them, and make a film of more substance -- and funnier -- as in "The Time of Their Lives." But after a few years they began to fade, until they were revivified with "Abbott and Costello Meet Frankenstein" in 1948. Universal's monster genre, which began in the early 30s, had run its course and there was nothing left to do but parody them, and Abbott and Costello were the instruments of that parody.Here we are in 1955, with "Abbott and Costello Meet the Mummy" and it's the dead edge of yonder for both the comedy team and the line up of monsters. You can't parody a parody.This may be the only film -- it was the next to their last -- in which Bud Abbott is almost as thick as Lou Costello. Abbott's voice is harsher and a little gravelly. When he insults Costello or order him around, it's a little unpleasant because he doesn't sound like a vaudeville straight man anymore; he sounds really mean.The story is dispensable except for Marie Windsor. What is she doing here, taking a vacation from being a moll? She looks mighty fine, in an Ileana Douglas sort of way, with those big and inviting eyes. Yes, eyes. Nobody else really counts. And the plot redoes some earlier successful gags. The "Who's on first" routine here is morphed into a lesser breed of gag involving "pick a shovel." I used to get a kick out of Abbott and Costello when I was a kid, and maybe the kids would find all this running around, being chased by thieves and mummies, bumping into dead bodies, and so forth, amusing. Although -- I don't know. I'm not attuned to the tastes of today's kids but my general impression is that they prefer violence to comedy or, better yet, slaughter that is presented as a joke.

Peter Patterson and Freddie Franklin are Americans travelling across Egypt. When they go to visit archaeologist Dr Zoomer to get a job, they find him murdered and, in trying to disentangle themselves from the crime, they end up getting deeper than they expected. In possession of a medallion, Peter and Freddie end up pursued by an Egypian cult who wish to protect the undead Mummy to which it belongs, but somehow Freddie cannot do anything without getting into more and more trouble.In revisiting the old Abbott and Costello films of my youth, I have discovered that their films do have noticeable periods where the quality is distinctly lower than when they were at their best – even fans will acknowledge this. Seeing that Mummy was made in the mid-50's suggested to me that perhaps this was going to be one such film – perhaps rushed out with the stars not really having the energy, commitment, chemistry or timing that they once had. The return to "meeting monsters" was also a worry as it made me think that the pair were perhaps returning to an old vein hoping that that in itself would make things work again. I'm not sure how much if any validity these worries had but the film does actually stand up as an enjoyable film of theirs. The plot is more or less clear from the title of the film but it does a solid enough job of providing a structure to the film and from there it depends what they manage to fill it with outside of narrative.The good news for fans here is that the two stars actually appear to have a certain amount of chemistry together and also have several good routines. Abbott is good and, as others have suggested their is a certain edge to his harshness that may have roots away from the scripted lines, while Costello does well with his usual double-takes and playing up his "baby-faced" personae. The supporting cast are solid enough to provide a plot but not particularly memorable beyond that – although I did like a performance from Peggy King at one point.Overall this is a brisk and amusing film that has a good number of fun routines and the stars appearing that they are actually putting effort into it beyond just showing up. A solid A&C film despite the late stage it was made.