Silly story about an evil Egyptian mummy queen who possesses the daughter of an archaeologist after he gives her the queen's ancient ring as a gift. The daughter, now possessed by Queen Tera, proceeded to hunt down the tomb hunters in modern day London in order to collect artifacts that will bring her back to life. So it's more of a possession story than a mummy going around and killing people. Outside of a sentient severed hand, this is a pretty weak Hammer Horror outing. Based on a Bram Stoker novel.

A movie from the 70s ... for some that may seem like ancient stuff (no pun intended). And you can say that movies have come a long way. In many aspects not just effects, but in many regards. But the 70s began to point at things. We have a strong female character, that shows skin on one hand, but has all the power in her hand (seduction and otherwise).While the acting may seem ... wooden (and there is a lot of evidence pointing in that direction), the script has gaps as if it was Swiss cheese, there is a lot of fun to be had. If you just enjoy this romp for what it is, and consider the time it was made ... well I know this is a lot to ask for, but remember that this was stuff people ran and watched back then. And it has pretty good production values (again considering the time and the studio at the time) ... So sit back and get ... seduced

Returning home from an excavation, an archeologist's daughter finds that her resemblance to a recently-unearthed Egyptian queen's tomb allows her soul to possess her in an effort to be unleashed in the world again, and must race to stop the ceremony from being completed.This is probably one of Hammer's most underrated features. One of its better features is that this effectively uses shadow and suggestion among the best that the studio ever tried and managing to bridge the gap between their Gothic start and the more exploitative side that was coming to the forefront. The first one is clearly the highlight, as a victim inside an insane asylum, straight-jacketed and held down, when a vicious wind begins to howl and starts blowing things around the room. He notices a snake sculpture on the wall is missing and he goes over to try to get out, but he is trapped inside when the snake sculpture's shadow on the side of the wall slowly approaches him and gets even more frantic and hysterical, and the wind picks up to hide the brutal murder that follows quite effectively. All of the shadows and other images in the film are nice uses of suspense to give the film a little something extra, just to spice up the action. The attacks at the end are the most fun with the full powers of the possessed queen put to display in a variety of locations against the attackers which allows for some frenetic action scenes to occur as the wild fight in the library, a further attack at her home and the finale which is just plain fun. The amazing sets are so eerie and striking that it really catches your eye. It also adds to the suspense of the scenes since the realism of them plays out incredibly well as they are so intricately made that it almost looks like they used ancient Egyptian props straight from a tomb and put them directly in front of the camera. The tomb is the most impressive, with the beautiful sarcophagus in the middle as the best example of this with the decorated head filled with colored jewels, the elaborate headdress, and the overall design it has is simply marvelous with the large hieroglyphics on the walls and looks very nice. It really does look like an actual Egyptian tomb inside up to Hammer's usual high standards. Even the kills were pretty good as always going for the jugular is a nice adaptation to give the killer, making for some nasty kills along the way even if it doesn't provide for any creativity. However, it allows for a lot of blood to flow, as this is one of the bloodier films from Hammer. There weren't a lot of kills in the beginning, but once this got rolling, they came fast and furious. Finally, Valerie Leon is one of the better and busty heroines of the Hammer staple, spending a lot of time in the film wearing negligee, and sometimes less, so this is something many red-blooded males will want to see. There's not a lot to dislike from this one, though it is probably one of the slower entries in the series so it takes a while to get going. Once it gets going, it's not that bad, but for a mummy film we don't see the mummy in the film all that often. Even more so, it isn't a mummy in the traditional sense that we know of, covered in layers of moldy bandages and shuffling about. Here, not only is it rarely seen, but it isn't the traditional mummy, so fans may be disappointed with it if it's a blind buy based on the title.Today's Rating/PG-13: Violence and Brief Nudity.

It's been many years since I read Bram Stoker's 1903 novel "The Jewel of Seven Stars," but what I mainly recollect is a feeling of great disappointment; the book is all buildup, with very little in the way of payoff. The 1971 Hammer filmization, renamed "Blood From the Mummy's Tomb," can be accused of the same unfortunate misdemeanor, but still has much to offer. It tells the tale of Tera, an ancient Egyptian sorceress who had been executed back when, had her hand dismembered and her body encased in a tomb. Centuries later, that tomb is discovered by a researcher named Fuchs, whose daughter is the very image of the priestess. It would seem that Tera is about to be finally reincarnated.... Taking place in an indeterminate year (the clothing and furnishings are modern, yet the automobiles are vintage), "Blood From" boasts some mild gross-out FX (that severed hand, and Tera's many throat rippings), an interesting enough story, adequate sets and--typical for a Hammer film--fine acting from its second-tier cast. In her dual role as the "slumbering" Tera and Fuchs' possessed daughter, Margaret, actress Valerie Leon literally stands out in this cast. A stunning-looking woman even today, her, um, mUmmarian protuberances are amply brought to the fore here in any number of negligees and low-cut gowns. As Tera, she is found completely unswathed; I suppose even the ancient Egyptian priests felt that her body was too impressive to be kept under wraps! In any event, Valerie's presence is reason enough to give this film a recommendation. The film's story line presents some unanswered questions (Just how does the Corbeck character plan to control Tera once she "awakens," for instance? And that ambiguous ending is anybody's guess!), but I must say that I enjoyed this film more on a repeat viewing, with lowered expectations. It's a fun latter-day Hammer flick, shown to good advantage on this great-looking Anchor Bay DVD.