A Monster Film More Focused on Mischief

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MOVIE REVIEW
Abbott and Costello Meet The Mummy (4KUHD)
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Genre: Comedy, Horror
Year Released: 1955, Kino Lorber 4K 2025
Runtime: 1h 19m
Director(s): Charles Lamont
Writer(s): John Grant, Lee Loeb (based loosely on concepts from the Universal Mummy films)
Cast: Bud Abbott, Lou Costello, Marie Windsor, Michael Ansara, Richard Deacon, Dan Seymour, Eddie Parker
Where to Watch: available now here: www.kinolorber.com or www.amazon.com

RAVING REVIEW: ABBOTT AND COSTELLO MEET THE MUMMY arrives as the final entry in the duo’s long and storied relationship with Universal’s iconic monsters, and you can feel that sense of winding down in its tone. Where earlier films blended horror and comedy with surprising precision, this one leans far more into the gags, misunderstandings, and adventure-tinged silliness. It’s not aiming for atmospheric tension or Gothic moodiness; instead, it embraces the familiarity of its formula and relies on the duo’s chemistry to carry a story that, while thinner than their earlier outings, offers an easygoing, family-friendly charm.

By the time this film was produced in 1955, Abbott and Costello had already cemented their legacy. Their comedic timing was unmistakable, their personas fully shaped, and audiences knew exactly what to expect. That predictability can be both a strength and a weakness here. On one hand, it’s comforting to watch their interplay—Costello’s panic and Abbott’s exasperated restraint remain funny. The film rarely pushes beyond what they’d already perfected in prior monster team-ups, resulting in a viewing experience that feels friendly but lower-stakes.

The Egyptian setting helps the film stand apart visually. The story begins in Cairo, where the duo overhear a passing archaeologist excitedly discussing his discovery of a legendary mummy. As expected, their curiosity pulls them into trouble. Before long, they find themselves entangled in murder, mistaken identity, theft, and a treasure hunt tied to a sacred medallion. It’s a setup designed to send them careening from scene to scene, encountering odd characters and escalating dangers.

Costello thrives in this environment. His mastery of physical comedy is on full display, from chase scenes to mistaken confrontations with the mummy itself. Even when the plotting feels thin, his commitment to every moment infuses the film with energy. He can stumble, screech, fumble, and panic in ways that feel genuine to his character rather than forced for a laugh. Watching him react to supernatural (or seemingly supernatural) occurrences is still one of the most endearing parts of the Abbott and Costello formula.

Abbott remains a presence, grounding the chaos and providing the setup for most of Costello’s reactions. His straight-man role is more important here than it might initially appear, especially in a script that leans on misunderstandings and escalating confusion. Without Abbott’s ability to play everything sincerely and with authority, the structure would collapse. Even in the film’s lighter moments, he provides necessary momentum and clarity.

The movie’s looseness becomes noticeable. The script has fewer memorable lines than earlier entries, and some sequences rely on repeated comedic moments rather than fresh ideas. The mummy himself appears less frequently than fans might hope, and certain scenes feel disconnected, as if stitched together from smaller sketches rather than building toward a central climax. These issues don’t derail the film, but they contribute to the slight sense of fatigue that comes with being the last of the Abbott and Costello monster crossovers.

Even with its lighter approach, the film has unmistakable charm. Its treasure-hunt storyline, desert motifs, and ancient-tomb antics give it the feel of a playful adventure serial. The comedic sequences involving mistaken identities, pseudo-spiritual rituals, and competing factions searching for the medallion offer simple pleasures that align with what audiences loved about the duo in the first place. It doesn’t reach the height of ABBOTT AND COSTELLO MEET FRANKENSTEIN or the confidence of the INVISIBLE MAN entry, but it’s far from a misfire.

The 4K restoration is especially beneficial here. The Egyptian-set design, costumes, and shadowy tomb sequences gain clarity and depth. The improved detail highlights textures in the mummy’s bandages, the lighting in interior scenes, and the overall visual atmosphere. Even if the film’s narrative isn’t the strongest in the series, the restoration makes it easier to appreciate the craftsmanship behind Universal’s final take on Abbott and Costello’s monster escapades.

This film isn’t bad—it’s simply lighter, safer, and less inspired than its predecessors. It delivers on entertainment and nostalgia but doesn’t push the formula forward. Think of it as a comfort-food entry: familiar, amusing, and fun, even if it lacks the punch of the duo’s earlier horror-comedy peaks. It’s a pleasant, fitting conclusion to the series, offering enough laughs and charm to justify its place in their legacy—even if the mummy remains more of a supporting figure than the star. It’s wild to think how far Universal pushed their shared universe, over fifty years before the Marvel Cinematic Universe even dipped its iron-clad toe into the waters.

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[photo courtesy of KINO LORBER]

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