Foster on Film

The three Mexican Aztec Mummy films were made back-to-back in 1957 and it is best to think of them as an old, ‘40s-style serial rather than three movies. The pacing works better that way, as does some of the cheapness and fanciful elements. Just consider the endings of the first two films as cliff hangers.

Dr. Eduardo Almada (Ramón Gay) did not take the criticism of his theory of past life regression well. So with the help of his mentor (Jorge Mondragón) and his cowardly comic relief (Crox Alvarado), he hypnotizes his fiancée—who also happens to be his mentor’s daughter—Flor (Rosita Arenas). Luck would have it she used to be

The Bat is back with a new plan to get that Aztec treasure so that he can continue his cruel animal experiments. Well, maybe it is the same old plan. He kidnaps Flor, and drugging her, uses hypnosis to learn the location of the breastplate and armband. Luckily our heroes have the aid of a

Five years have passed (even though the film was released seven months later). After an exceptionally long synopsis of the events so far, we find out that The Bat is still at large, and still has hypnotic power over Flor. His plan is…well, the same as always. He wants the breastplate and armband again. And

In British-occupied Egypt, a band of archaeologists, lead by the loutish Quentin (George N. Neise), have gone on an expedition without permission. With rebellions rising up, the military sends Capt. Storm (Mark Dana), along with Syliva (Diana Brewster), the recently arrived lout’s wife, to find the team before the locals hear of it. On route,

Weird mad scientist Expedito Vitus (Wilson Grey), upset that people laughed at him over his claim of an elixir of life, takes up archeology briefly and discovers the mummy Runamb (Anselmo Vasconcelos). Things are looking up for the professor. His reputation has been repaired, he has a bubbling, curvaceous wife (Clarice Piovesan), and a mummy

Unlovable rogue and antiquities thief Nick Morton (Tom Cruise) stumbles upon an ancient Egyptian tomb that is really a prison for Ahmanet (Sofia Boutella), a “mummy” who failed to bring the god Set into the world. Now freed, Ahmanet has chosen Morton as the new host for Set. Standing in her way is archeologist and

Peter and Freddie (Bud Abbott and Lou Costello) find themselves mixed up in the murder of a professor.  Trying to clear their names only makes things worse as both a criminal (Marie Windsor) and a cult leader (Richard Deacon) want the amulet they have, an amulet that leads to the treasure of an ancient tomb,

The three, young, beautiful daughters of the pharaoh (Hanna Harper, Nikki Love, and Violet Blue—as Ada Mae Johnson) are murdered and the killer is mummified. In modern times, they are all awakened, and the girls become dancers at a strip club. Unwrapped, they are the only ones who can stop the still bandaged mummy. If your goal

Margaret Fuchs’s 21st birthday nets her an impossibly huge ruby ring from her archaeologist father (Andrew Keir), and even more nightmares of ancient Egypt.  She doesn’t yet know that she was born at the precise moment Professor Fuchs and his band of grave robbers recited the name of an ancient queen over said queen’s 3000

A man who may be Elvis (Bruce Campbell) joins up with one who almost certainly isn’t JFK (Ossie Davis) to save the inhabitants of their Texas nursing home from a soul-sucking mummy. How to make a cult film: 1—Start with a zany idea; 2—Add cultural references and in-jokes; 3—Put in some overly-serious, angst-filled revelations from

The tomb of Prince Ra is opened by a group of scholarly archeologists, who are treated none too well by the locals for their efforts.  But then the contents of the tomb are treated far worse when their greedy American benefactor (Fred Clark) shows up with plans to exhibit the remains of the prince, side-show