Mummy movies have never really been the innovators of the horror genre. Save for a few exceptions of an “end of the world” nature, they tend to follow pretty much the same plot as did Universal’s 1932 original, The Mummy (which itself ripped off Universal’s script for Dracula from the year before), with the long dead mummy – always killed by Pharaoh for a sacrilege of the “forbidden love” variety – rising from the grave to rediscover a lost love’s soul and become reunited with that love for eternity, generally by taking the modern day woman within whom that soul now resides and killing her so that the previous soul can take over the body and exist in an eternal state just like that of the mummy. Such is the case with Mummy’s Kiss, save for one critical difference – the mummy back from the dead and lusting after a long lost princess is a woman with enormous breasts, and while most mummy movies could desperately use sex and nudity as distractions from the fact that they are at heart very bad movies, this one actually has the sex – lots of lesbian make out sessions, specifically – and the nudity… and as far as the average mummy movie goes, it’s actually better than most.


Thousands of years ago, the Pharaoh’s Sorceress, Hor-Shep-Sut (Ava Niche, accompanied by her chest) was punished for pursuing a forbidden love; specifically, the love of the Pharaoh’s daughter, Hat-Em-Akhet (Sasha Peralta, Staying On Top). After a make out session with her Princess in one of the palace pools, the Sorceress is taken away by palace guards, cursed, and mummified…In the present day, Hor-Shep-Sut’s mummy has been found by Dr. Wallis Harwa (Richard Lynch, The Happy Hooker), and its sarcophagus opened by Professor Carter Moore (George Thomas, Beautiful Bounty). Carter’s fiancée, Ana (played by…hmmm… Sasha Peralta), immediately faints at the sight of the mummy, to which she feels strangely connected somehow… Just how connected, of course, is sure to be the subject of lively audience interest as time goes on…

In Detail

Mummy movies have just never really been the darlings of the monster horror set. While some have managed to take a slightly more unique approach to things (like Belphegor: Phantom of the Louvre), by and large, they’re pretty much all the same, with the same plot repeated over and over again, even from sequel to sequel within the same franchise. In that respect, Mummy’s Kiss is no different from almost every other mummy flick that has come before it. Egyptian religious figure gets killed by the Pharaoh and made into a mummy after committing a sin of forbidden love. Check. Mummy comes back to life after being released from its tomb thousands of years later. Check. Mummy searches for the reincarnation of its lost love. Check. Ho-hum, yawn-boring, nothing to see here, right? Amazing how some lesbian make out scenes and lots of topless women can turn an old premise right around, isn’t it?

Perhaps the most surprising thing about Mummy’s Kiss is the fact that even though it’s a softcore sex flick at its center – can one suspect anything else from a production company called Seduction Cinema? – it actually does in fact try to exist as a straight up mummy movie. Normally, this would be a disaster, as any softcore flick that tries to be something else is almost always a recipe for trouble, but in the case of Mummy’s Kiss, it actually works. Maybe it’s because the whole mummy genre tends to be so weak to begin with, or maybe it’s because the standard mummy plot is so incredibly basic that when Mummy’s Kiss follows that same exact formula to the letter and actually includes the sex and nudity that all of those previous mummy movies desperately needed, it provides the viewer with a sense of vindication and triumph. (Or at least a sense of something.) Or maybe it’s because Mummy’s Kiss, even with the production values and budget inherent to softcore, actually manages to be a better written and overall better filmed movie than most other mummy flicks. That’s right, folks; scary as the thought may seem, Mummy’s Kiss beats any of the classic Universal Horror mummy films in terms of both watchability and quality. The pacing is reasonable (if anything, it could have afforded to pause for sex a few more times, but back to that in a minute), the direction’s not bad, and the screenplay actually makes sense (perhaps it’s basic, but at least it’s sensibly so, which is more than one can say for most Kharis flicks). Even the excuse given for Hor-Shep-Sut to pick up a couple of topless handmaidens after waking up in the present day makes sense (with effects that tip the hat to that rather famous naked monster flick, Lifeforce). But of course, no one who’s actually read the box for Mummy’s Kiss has picked it up as a straight mummy flick (a phrase that works in both senses of the term, actually); the primary draw for this one’s target audience will be the sex.

On that score, Mummy’s Kiss definitely holds its own, though doesn’t really go all-out as one might expect. Most films like this are essentially excuses to string a few sex scenes together; in the case of this movie, the sex scenes occur specifically within the context of the plot. (Scary, isn’t it?) In fact, there are only four in the entire film – all lesbian make out sessions, with three of the four (and two especially nice) scenes between headliners Ava Niche and Sasha Peralta – with the rest of the sexual quotient being made up of “handmaidens” and extremely easy college women showing their boobs off at the slightest opportunity, sometimes even in public hallways. (Plus a topless Egyptian goddess, Isis, dancing during the opening credits to stolen classical music – never mind that this “Egyptian” goddess is white and blonde, but since she’s also Playboy’s Miss April, 2001, Katie Lohmann, who cares?) There is no hetero action to be found here at all beyond a couple of very ordinary kisses, so anyone hoping for guy-on-girl action or maybe even a threesome may be disappointed. For girl-on-girl fans, though, Ava Niche and Sasha Peralta do work very well together. Unfortunately, as with so many sexually driven productions, those behind Mummy’s Kiss seem to think that when sex scenes are playing on the screen, the audience wants to hear a musical score that drowns out the “natural sound”, and so none of the latter is ever heard, not even in the context of “afterglow”. Also, it seems almost stunning that at least four opportunities for additional sexual material are skipped right over when surely the few extra minutes would have been well worth it… And why couldn’t Hor-Shep-Sut wait to steal those two nymphos’ Ka’s until after at least taking a moment or two for some fun, rather than turning them into zombies on the first kiss?

In terms of acting, while no one watches these flicks looking for Golden Globe winners (not that kind of golden globe, anyway), for the most part, the players aren’t bad for this sort of thing. Ava Niche does the femme fatale thing quite nicely, actually. The only real complaint that might be leveled is against George Thomas as Professor Moore, who seems a bit flat, though that may not really be fair, considering that of all the characters, his is the worst written (hard to feel any sympathy for the guy at any time in terms of character, and considering that he’s not getting any from anyone else, when five different women throw themselves at him and he walks away… one can’t help but think the character a moron). All in all, though, for this genre, there are plenty worse.

So overall, what do we learn from Mummy’s Kiss? One, sometimes, softcore porn takeoffs of genre flicks driven by lesbian makeout sessions can actually be better than most of the movies in the genre being lifted from.Two, Ava Niche is nice to look at. Three, the trouble with turning lesbian nymphomaniacs into zombie slaves is that while they’re perfectly good at stopping male intruders, as soon as they see a woman come along, they’ll drop everything to try and rip her clothes off and have sex with her rather than focus on the task at hand of guarding the inner sanctum. Four, if you’re ready to perform the important ritual ceremony that will reunite you with your true love for eternity in immortal form so that you and she can have sex nonstop until the world ends, don’t waste time to stop and get a quickie in first, thus allowing those who would try to foil your plans time to get to your secret hideout; just do the ceremony first, and screw around later. There may have been other lessons, too, but do they really matter? Not really. What matters is that for its intended audience, Mummy’s Kiss delivers what it’s supposed to – perhaps not in the quantity one might expect, but enough to certainly make the experience worthwhile. As a bonus, it’s even a halfway decent mummy movie, compared with the rest of that genre… And when it comes right down to it, of everyone else I can think of who’s ever played a mummy, Ava Niche would certainly be the only one I'd want to see naked.


What do you get when you mix a mummy story, tons of beautiful ladies and a curse? The answer is quite simple "Mummy's Kiss." Yet another erotic horror film, but this one is actually really good. If I didn't tell you, you'd never know it was a b-movie. They must of spared no expense because the costumes, shoot locations and FX are amazing. The acting is even better than average, some of the actors/actresses seemed like season pro's. They really knew what they were doing. As for the horror aspect, not bad. The mummy looked very realistic, which goes back to what I was saying about the FX. But I do have two big problems with the movie. The mummy didn't get enough screen time. They had an incredible monster but didn't seem to capitalize on it. The erotic aspect is also somewhat flawed. Maybe i'm being picky but there wasn't enough of it.

The movie really lays heavy on the storyline. Which in this case worked well regardless, it has a well written solid story. It would of been perfect had they given us a few more erotic scenes, maybe longer scenes as well. Couple that with some more screen time for the mummy and I would be a happy camper. But alas, still a good flick. The storyline goes like this. A professor, his assistant and his girlfriend (who is a student) go back into the campus storage area of their college. Looking for a mummy that is over three thousand years old. The mummy was discovered by the head professor of the school semi-recently and the group has been dying to look at it. Crowbars in hand they pry the lid off and there lies Hor-Shep-Sut. Known to me as the mummy because there's no way in hell I can pronounce that. Ana (the professor's girlfriend) after staring at the mummy leans down and touches it. Immediately after she passes out suffering a flashback of ancient Egypt. Once revived the group looks at the mummy's face, covering it however is a golden death mask. The professor starts to take it off but Ana stops him. The group then decides it would be best to leave.

Caught on yet? A curious security guard soon after makes his way to the mummy and takes off the mask. That's the beginning of the end, because now that the mask has been removed the mummy can return to life. And she does. One piece is missing though, you can't walk around looking like a three thousand year old rotted corpse so that's where the title of the movie comes into play. With a kiss by the security guard she regains her youthful beauty. Each kiss thereafter makes her that much more powerful. That's enough for now, if you want to know more you gotta see the flick. And I definitely recommend that you do, with the exception of the two problems I brought up earlier you'll be very happy. Hey, never know. You may even get a kiss out of it. (Sorry that was cheap). The dvd is also nicely done with extras like: director's commentary, behind-the-scenes and bloopers, Isis unmasked and handmaiden dance footage and a trailer vault...


Reviewed by Lawrence P. Raffel

            Yup, Mummies sure are hot these days, real hot. Anyway, let's get back on track. Seduction Cinema really surprised the hell out of me with this one. While Mummy's Kiss is by no means a film to satisfy all pallets, it's a valiant effort in the world of low budget erotic filmmaking. I may be getting ahead of myself here but damn if this isn't one slick little erotic film. Let's get down to business. The mummified remains of a 3000-year-old sorceress are discovered by a local college Professor (played by veteran character actor Richard Lynch). When a gorgeous young archaeology student Ana touches the mummified remains she's transported back to ancient Egypt and participates in a little touchy feely hanky panky with our dear sorceress. Ana awakens from her black out in the arms of her professor (and lover) only for us to discover that something just ain't right here. Turns out that our sorceress is in search of the spirit of her long lost lover, a spirit that may just reside in the body of poor young Ana. The evil sorceress must seduce and convert young beauties from the college to her side to aid in her quest which will ultimate lead our Sorceress to dear Ana strapped to an alter (bet you didn't see that one coming, did ya?). Will Ana be taken by the evil Hor-Shep-Sut before it's too late or will her uncle and suave professor boyfriend be able to save her?

            When we actually get down to business here it's really quite an original presentation. There are definitely enough bizarre plot devises and character developments to make one take notice, and the film itself has a pretty original look which is actually quite polished... a look that seems to be missing from many an SOV flick these days. Many of the mummy effects here are real hands on make up and I dug that considering how many computer generated mummies we've had to endure in recent years. When thereare computer effects in the film (morphs and backgrounds) they're handled quite well and they blend in real nicely. It's also worth mentioning that the nudity and girl/girl scenes aren't as in your face as one might be used to from this type of film. Now this isn't to say that there aren't plenty of these moments, because there are. It's just that the story and characters are strong enough to drive the film so the exploitation elements don't have to. This was actually a refreshing change of pace for me. No need to worry, as there are plenty of sexy dames and they all look incredibly HOT naked. College didn't look like this when I was hitting those books... or maybe I just went to the wrong college?

             The success of this film can also be attributed to some creative casting, in front of and behind the scenes. It's great to see Richard Lynch in the brief role of the professor, he's a great character actor and he really adds to the production as a whole. Also worth mentioning is the addition of John Carl Buechler as the FX man (From Beyond, Cellar Dweller, Troll). He's responsible for the creature effects as well as the other on screen make up effects found within and considering the films obvious budgetary limitations, his effects work this time around is quite impressive.

Quality wise, this one gets pretty high marks all around. Shot on digital video we get a nice clear image with solid colors. There's really no evidence of pixilation either, which is definitely a plus. The widescreen framing helps to give the film a more cinematic feel and is actually quite effective. I was a bit troubled to discover the lack of a 16X9 transfer though. Considering the fact that they went through the trouble of framing the film wide a 16X9 transfer would have been the icing on the cake. The film was creatively shot and well lit throughout and all of this adds to the extreme aesthetic value of this low budget presentation.

Audio is presented in a solid stereo surround mix and sounds great. Nice clear dialogue and understated but effective ambient surrounds. It's nothing to get all freaky over but it certainly gets the job done, also worth mentioning is the so bad it's good Mummy's Kiss rap. I sat there staring at the menus listening to it over and over again. Should I be concerned about this?

Extras include an entertaining and informative audio commentary by director/writer Donald Glut (Erotic Rites of Countess Dracula) and producer Kevin Glover. There's also a trailer for Mummy's Kiss as well as a selection of other Seduction Cinema titles and two extended scenes (of course there's extended nudity in both of these clips, so lube up!). Lucky for us things are rounded off with everyone's favorite, the blooper and outtakes reel. What can I say but this film definitely speaks to a particular niche audience. Those who aren't into the new wave of independent SOV fare (erotic or non erotic) will find this to be pretty much the same old same old (there's no changing you folks). However, those who dig the SOV look, hot chicks, horror themed Indies and hot chicks (did I mention the hot chicks?) will most likely find much to enjoy within. I definitely dug the flick’s slick look and it's evident that a lot of effort went into this quickies presentation. Oh, did I mention the hot chicks? Check it out.


Seduction Cinema's new Mummy's Kiss film brings you rotting Egyptian folk and erotic temptresses all on one shiny DVD. Could it get any better than this.

Plot: 3,000 years ago, an evil Egyptian sorceress, Hor-Shep-Sut, was buried alive for indulging forbidden pleasures of the flesh…with the Pharaoh’s beautiful daughter! Now Hor-Shep-Sut’s recently excavated mummy has arrived in modern-day Los Angeles, and the removal of a gold Osiris death mask brings her back to life in all her sensual splendor. With the help of a zombified servant, Hor-Shep-Sut must find and reclaim the reincarnation of her ancient lost love whose spirit resides in a luscious archaeology student named Ana. Along the way, Hor-Shep-Sut seduces several female students who willingly offer their taut young bodies completely to the scheming, pleasure-seeking sorceress. Ana, too, begins to ache for the lustful and erotic touch of Hor-Shep-Sut, not knowing who she really is and that they once had been eager lovers in another life. As Ana moves closer towards her fateful yet luxurious encounter with Hor-Shep-Sut, will Ana’s fiancé or her uncle, Prof. Wallis Harwa, be able to save her?

Analysis: Coming from the same production company that brought us the excellently titled 'Dinosaur Valley Girls', comes a brand new tale all about an ancient Egyptian curse. When a group of students at a Los Angeles high school unmask the mummified body of a long dead sorceress, the curse that once bound her to an eternal sleep is lifted resulting in all manner of frisky frolicking.

Now, to ensure we all understand the style of movie this is, I will present you with a little fact. Just about every actress in this film shows a little or a lot of flesh during it's 88 minutes running time. Don't get me wrong this is defiantly not a negative point, but it does need saying for all those people who think it unnecessary to market a feature by having butt naked chicks as it's main attraction. I however am not one of those people, and think that reverse censoring is a great idea ensuring that no movie ever gets passed unless it contains at least one hot garment-free babe.

Anyway, let’s focus more specifically on 'Mummy's Kiss', is it worth shelling out hard cash? Well if you were to compare this movie to other titles of the same style, this would rank up amongst the best. The acting is of a reasonable level and the addition of Richard Lynch who's genre outing's stem back to the 1970's really adds a touch of excellence to the overall quality. The special effects that mainly surround the scenes in which the mummified corpse of the sorceress appear are well done and are not over cooked as you might expect from a team who are obviously proud of their FX work.

I guess the main incentive for buying this film will be the quality of the actresses from a pure sex appeal perspective. If this is the case then Mummy's Kiss should sell by the truck load. Every single female in this film is quality. Frontline Entertainment have done a sterling job when picking their leading ladies and have gathered a good bunch of mostly natural talent.

As is standard for just about any Seduction Cinema DVD, you can expect great value for money when flicking through the extras that make the disc bulge to the point were you might have trouble getting it in your player. Bloopers, behind-the-scenes feature, dancing girl segments and trailers are all in there and despite the fact that they might not be everyone's cup of tea, it sure makes for an impressive array.

Action: A little action by the mummy in the early start of the film, but it is a little lacking in any really excitement.

Thrills/Tension: Light on the tension front with the final 'ceremony' scenes giving this a single score.

Violence/Gore: The mummy gets a little frisky but nothing that could be described as real violence.

Bare Flesh: This is Seduction Cinema so don't expect anything other than ladies doing what they do best, getting their boobs out. Look through the cast list to see which ladies unrobe. The beautiful Aysia Lee only does a brief flash that was a big disappointment for me but I guess I'll live.

Plot: The plot isn't great but it is just about strong enough to push the film along without the viewer getting too bored.

Verdict: The overall ambience of this film is that the team of actors and crew who, although making an essentially cheesy flick, are at least prepared to undertake their task to the best of their ability. The entertainment value of the film is high enough for it to be taken seriously but never escapes from it's real intention and that is to titillate it's audience. A little gem that will unwrap the loins of many men.


Seduction Cinema releases more softcore lesbian sex fests disguised as Hollywood movie parodies than one can keep track of, but the humor is usually more painfully juvenile than funny and the sex often has that just-going-through-the-motions vibe that rarely generates any real eroticism. I guess that's why I was pleasantly surprised by Mummy's Kiss. Here's a Seduction Cinema movie that's an enjoyably campy throwback to the mummy horror films of the '30s and '40s that actually has a story that just happens to be punctuated by good-natured gobs of nudity and a few surprisingly sensual lesbian love scenes. Yeah, I was stunned.

In the movie, the mummified remains of 3,000-year-old Egyptian sorceress Hor-Shep-Sut spring to life after a bumbling university security guard removes her gold death mask. Bye-bye, security guard. Hor-Shep-Sut (Ava Niche) takes on human form and begins her diabolical plans to reclaim her long lost love, who has been reincarnated as beautiful archaeology student Ana (Sasha Peralta). Of course, Ana's university professor fiancé (George Thomas) and her archaeologist uncle (Richard Lynch) eventually catch on and must race against the clock to save Ana during the ritualistic ceremony that serves as the climax.

While the lesbian sex scenes aren't as plentiful as usual for a Seduction Cinema release, the few here are fairly sensual, even if the building eroticism is often cut short. Then again, the nudity from a wide array of good-looking actresses is pretty constant and the film often succeeds in a screwball sex comedy kinda way. Watching George Thomas channeling Cary Grant as a flustered young professor fending off female students eager to disrobe for a good grade is pure guilty-pleasure fun. The cast seems to be having a good time and their easygoing charms help keep the movie afloat even when it gets bogged down in dull exposition. Aside from a needlessly graphic flashback to Hor-Shep-Sut's death, it's a likable and amusing trifle that, at 90 minutes, doesn't outstay its welcome.

The DVD includes a commentary track with writer-director Donald F. Glut (Dinosaur Valley Girls), a bloopers reel, behind-the-scenes footage, a Seduction Cinema trailer vault, and extended footage of former Playboy Playmate Katie Lohman's topless opening-credits dance. Even with the rampant nudity, Mummy's Kiss doesn't feel as sleazy as most of Seduction's releases. Instead of a series of lesbian scenes strung along by a half-assed plot, it's a cheesy B-movie with a few lesbian scenes thrown in. As a completely forgettable bad movie, it's not half-bad.


Reviewed by G. Noel Gross 

It may be a B-movie fish story, but auteurs Donald Glut and Kevin Glover claim they lost EIGHT starlets to cold feet and jealous boyfriends during production of their most ambitious romp since Dinosaur Valley Girls. One wonders what sultry visions THOSE gals might have been, because these fellas are clearly EXPERTS on how to cast a deliciously fleshy flick about a twin-torpedo'd Egyptian sorceress (Ava Niche) willing to kill, diddle, or perhaps diddle THEN kill, anyone who hinders her reunion with the reincarnation of her long, lost lesbian love (Meadow Soprano-ish Sasha Peralta). Behold their amorous flashback sequences in ancient Egypt, shot at what appears to be a lower-tier Hollywood mogul's home, with CGI pyramids strategically blocking out the smoggy skyline. Not that anyone would really pay much mind with Ms. Niche precariously strapped into the most SPECTACULAR heavy-metal bikini since Return of the Jedi. Speaking of wardrobe, ponder WHY veteran B-idol Richard Lynch would insist on wearing that ridiculous CAPE as a modern-day Egyptology professor? But the first real portent of what delirious fun lies ahead is right there in the opening credits when high school wrestler Katie Lohmann, Playboy's Miss April 2001, undulates her saline orbs to soaring strains of "Swan Lake" as the goddess Isis. 22 breasts. Four corpses. Lesbian tongue rasslin. One CRUNCHY mummy. Poolside diddling. Spikes to the eyesockets. Horn'd up coeds eager for extra credit. Gratuitous "shot fired while struggling over gun" scene. (2002, 88 mins, 1.85:1, DD 2.0, Glut/Glover commentary, Bloopers, FX reel, Extended dancing girls footage, Trailers.)


In the ancient era of Egyptian lore, a sorceress Hor-Shep-Sut was sentenced to death for violating the laws of carnal pleasures. She was buried alive for her sin, which involved getting intimate with the Pharoah's gorgeous daughter. After 3,000 years beneath the surface, her mummified remains have been excavated and shipped to Los Angeles. She is to become an exhibit in a museum, but when the golden Osiris death mask is removed from her face, it sends into motion a horrific chain of events. After the mask is taken off, Hor-Shep-Sut is brought back to life and of course, she seeks to find some nubile female flesh. With the help of a zombified servant, she embarks on a journey to find the reincarnation of her forbidden lover. The spirit of that woman resides in Ana, a beautiful young archaeology student. As Hor-Shep-Sut makes her way toward her former lover, she encounters and seduces a line of young female students, none of whom could resist her seductive ways. Even Ana is attracted to her and finds herself drawn toward Hor-Shep-Sut, though she has no idea of just who she is. As the time nears when Ana and Hor-Shep-Sut will rekindle their love affair, will Ana be able to resist the charms of her once forbidden lover, or will this evil plan unfold as planned?

The realm of erotic (i.e. non-pornographic erotica) cinema has really taken off on home video, but a lot of it is lame or worthless. But sometimes a gem is uncovered and while Mummy's Kiss is no masterpiece, it is a cut above most erotic cinema. This erotic epic from director Donald F. Glut (Dinosaur Valley Girls, The Erotic Rites of Countess Dracula) is loaded with small touches that tribute classic horror movies. Of course, Glut has a lot of history with classic horror & sci/fi, so it makes sense for him to tinker with his own pictures, in order to give props to those timeless, top tier horror movies. In Mummy's Kiss, we have a decent storyline, nice special effects by John Carl Buechler (Friday the 13th Part VII), and of course, more than a few naked ladies. The featured babes include Sasha Peralta, Ava Niche, Aysia Lee, and perhaps the most memorable girlie, Playboy Playmate Katie Lohman. As expected, ample nudity is on display in Mummy's Kiss, with almost constant toplessness and even some lesbian sequences. You can tell this was shot on a low budget, but the filmmakers have done some solid work in masking their limitations. So for a low budget erotic movie, Mummy's Kiss has some great production values and since Seduction Cinema has put together a terrific disc, this one is highly recommended.

Mummy's Kiss is presented in 1.85:1 non-anamorphic widescreen. This is a solid visual effort in all respects, though of course, anamorphic enhancement would have most welcome. Even so, we have a clean and sharp image throughout here, with no real problems to report, aside from some light shimmering at times. The colors are bold and free from error, while flesh tones appear natural and warm at all times. No troubles with contrast to be mentioned either, as black levels seem on target and detail never suffers. Aside from the lack of anamorphic enhancement, I can't find much to complain about here, terrific work all around.

The audio here might not be a deluxe DTS option, but it sounds good and is a much more solid effort than expected. The music is quite good and a few notches above the usual erotic cinema output, to be sure. On the same line, it just seems as though a lot of attention was given the film's audio by the filmmakers, as sound effects, music, and dialogue are all well recorded and mixed in this soundtrack. You often have low dialogue and lame sound effects in these erotic pictures, but Mummy's Kiss is a cut above the crowd. A nice presentation for a soundtrack that sounds expensive, even if it wasn't.

You can listen to comments from director Donald F. Glut and producer Kevin M. Glover here, via an insightful audio commentary track. Glut discusses his production techniques and also talks about his little tributes to classic horror, while Glover works in comments on how they were able to overcome budget limitations and he even cracks some bad jokes. The complete Isis opening sequence is also presented here, as is the full dancing handmaiden scenes, both presented in raw, unfinished form. This disc also includes ten minutes of behind the scenes footage, a reel of outtakes & bloopers, and the film's trailer.


Review by Rich Rosell

Mummy's Kiss could be the harbinger of a new era for Seduction Cinema, and that's a good, good thing for fans of all things tacky. While most of the studio's titles are motoriously cheap-looking affairs designed loosely around lesbian-themed sex scenes, this new project from writer/director Donald F. Glut moves into more traditional low-budget B-movie territory, while keeping the trademark erotic lesbianism and free-flowing nudity intact.

In this tale, lovely young archeology student Ana Harwa (Sasha Peralta) finds herself the romantic center of attention for the unexpectedly resurrected Egyptian sorceress Hor-Shep-Sut (Ava Niche). There's talk of "black wizardry" and "forbidden love," but the whole story borrows from the old reincarnated-soulmate premise, only this time it is between two stunningly beautiful women. After a golden Osiris Death Mask is removed by a dopey security guard at the local university, the well-endowed Hor-Shep-Sut comes to life, and spends an inordinate amount of time in a tiny Princess Leia-as-Jabba's-prisoner styled metal bra. That is, when she's not completely nude or reminiscing (cue sexy flashbacks) about her forbidden lesbian love back in ancient Egyptian days.

Glut slides in the nudity and lesbianism with far more ease than I've seen in most of the Seduction titles, and he spends a fair amount of time trying to establish an actual storyline to accompany the titillating visuals. Sure, Isis is ALWAYS topless, but when she's played by busty blonde former Playboy Playmate Katie Lohmann, I guess that's just the way it has to be. The basic premise of Italian horror films of the early 1970s was essentially no different, and it seems Glut has only expanded slightly upon that framework.

This isn't a "great" film by any means, but the sensual eroticism seems more necessary and plausible as part of the story, instead of occasional scenes of unrelated coupling. The degree to which Glut connects these sex/horror elements works pretty well in Mummy's Kiss, and though this is really nothing more than a sub-par B-grade horror film, it does represent an interesting melding of genres.

Rating for Style: B-
Rating for Substance: B-

Image Transfer Review: Image presentation comes via a somewhat inconsistent 1.85:1 non-anamorphic widescreen transfer. Color depth fluctuates quite a bit, with the pool and other outdoor scenes (where there are oodles of gyrating nude flesh) look fabulous, while some of the interiors come across soft and hazy. When it's good, it's just fine, but grain and an occasional blur is evident in some scenes. This is by far one of the better looking Seduction transfers I've seen. Image Transfer Grade: B

Audio Transfer Review: The 2.0 stereo surround track is clear and crisp throughout, with no audible hiss or noise. This is definitely a noticeably fuller, more expansive mix than most Seduction titles get, and hopefully an indicator of quality to come on future releases from them.


Review by Brian Thomas

EI Independent Cinema has released their third Donald F. Glut feature under their Seduction Cinema banner. Glut was a legend among monster fans long before making his first feature (DINOSAUR VALLEY GIRLS), having made his mark as a writer, musician, and one of the better known makers of amateur monster movies. THE MUMMY’S KISS (the onscreen title) isn’t Glut’s best picture (EROTIC RITES OF COUNTESS DRACULA has a more engaging story and characters), but it’s obvious that he’s learned a great deal about smoothing out the rough edges of low budget filmmaking, and his films stand far above the quality of other [EI movies]. EI sets the right mood off the bat by laying Glut’s clever “Mummy Wrap” tune, featured in the background during the film, under the main DVD menu. The action takes place at California’s fictional Whemple University (played by Hollywood High School), the kind of college campus that features a student body nearly always clad in miniskirts and tube tops. Archaeology Professor Carter Moore (George Thomas), his assistant Tina Kim (Aysia Lee), and his fiancé Ana Harwa (Sasha Peralta) stir up trouble in opening the sarcophagus of an ancient Egyptian mummy. The mummy of sorceress Hor-Shep-sut (Ava Niche) returns to life and immediately targets Ana as the reincarnation of her lost love, plotting with her gods (including Playboy centerfold Katie Lohmann as Isis) to make Ana an immortal creature like herself so that they can pick up where they left off.

Genre fans will appreciate the film’s homage to the Boris Karloff classic THE MUMMY – the general tragic romance plot is much the same – as well as in-jokes tucked in everywhere throughout the movie. Most movies with scenes set in ancient Egypt tend to portray them in overdone sepia tones that make them look like modern Egypt, while Glut makes his Malibu locations work for him by playing up the lush greens and blues to make it look more like the thriving Old World Nile Valley. The mummy makeup and f/x provided by John Carl Buechler is very good, and Glut & Co. overcome their obvious budget restrictions by actually providing genuine suspense and drama in several sequences. But the fact remains that this film is what it is: a movie about a mummy with huge breasts! Since we’re already in Russ Meyer territory, perhaps even more camp could have been added. The best possible audience for a picture like this (other than lonely guys who dig girl-on-girl action of course) is a rowdy and possibly drunken group of friends at a party.

On the commentrak, Glut and producer Kevin Glover are forthcoming about the film’s strengths and deficiencies, and express appreciation for their cast and crew. Performances range from the professional strength line readings of veteran Richard Lynch (THE HAPPY HOOKER, GOD TOLD ME TO) to the unrehearsed performances of Hollywood’s ingénues - many of whom deserve extra credit for filling in at the last minute when cast members failed to show up. The commentary gives one a new appreciation for the difficulties involved in filmmaking, and how the filmmakers get over bumps in the road by keeping flexible and knowing the value of solid lighting and camerawork (even for shot-on-video flicks). They also point out the real embalmer in the embalming scene.

EI gives the flick a nice widescreen presentation, and while nobody will mistake this for a THX-approved Stephen Sommers mummy picture, it doesn’t look too shabby, considering. The DVD extras go beyond EI’s usual promotional material – besides the commentrak, they’ve preserved a great deal of raw footage shot for the opening and closing of the film. Ten minutes of behind-the-scenes footage gives a look at the shooting of special makeup effects. There’s also over a half hour of bloopers and outtakes. If nothing else, this release is provided the best cover art that any EI Cinema release has ever had.


Reviewed by Chris Hartley 

Seduction Cinema and Frontline Entertainment offer up another solidly made erotic horror flick this time set at Whemple University where a mummy is woken from its sarcophagus and takes female form (of the large-chested Ava Niche) in order to try and seduce young student Sasha Peralta who's a reincarnation of her former lover and who can bring her back to mortal life by stealing her heart (literaly).

            With a cast filled with good looking women, an okay looking mummy (designed by effects veteran John Carl Buechler) and a script that tries for more plot than most of this type; this is another better than normal softcore romp from the guys behind “The Erotic Rites Of Countess Dracula.”

            Despite a finale that's fairly low-scale and underwhelming this has enough softcore lesbian couplings to please its target audience, a pretty cool backstory to the mummy character (she was an ousted lover of a pharoah's wife named "Hor-Shep-Sut"), an old fashioned feel to the proceedings and B-movie veteran Richard Lynch on hand in a side role. If this type of film is to your liking you should enjoy this one.


Picture Ratio: 1.85:1 Widescreen

            Picture Quality: There's some fuzziness on hand but for a shot-on-video effort you can't get much better than this.

            Extras: Pretty loaded with extras this has a trailer (and Seduction's usual "trailer vault"), over thirty minutes of bloopers and outtakes, a behind-the-scenes featurette, "dancing maidens" footage, "Isis uncut" footage and another interesting commentary by director/writer Glut and producer Kevin M. Glover.


The films of Donald F. Glut (see also The Erotic Rites of Countess Dracula) seem to have more of a "legitimate" b-movie feel to them, as if the copious nudity and sex are mere accents to the story and plot and not just the other way around. Though this film is similar in storyline to the mainstream Mummy releases and was obviously inspired by them, it does not take the typical Seduction Cinema route and seek to satirize or parody them with juvenile jokes or potty humor (which do have their time and place), but instead seems to try and be a real movie with an actual story and plot and everything. But, of course, there are also lots of naked lesbians to give it that extra "ooomph!" that we here at Softcore Reviews always appreciate. 

Sasha Peralta (aka Sasha Rochelle, of Staying on Top and Model Solution fame) stars as Ana Harwa, an archaeology student who is unaware that in a previous life she was an Egyptian Princess involved in a torrid affair with Hor-Shep-Sut (Ava Niche, better known as Mia Zottoli), an evil sorceress who was eventually put to death for her indulgence in the forbidden pleasures of royal flesh. Now the recently discovered mummy of Hor-Shep-Sut has been transported to Whemple University in Los Angeles where she is accidentally reawakened from her 3000 year sleep, and in the form of bountifully-breasted Mia, begins to seduce and slam clam with every young willing female she can find. And hey, it's an L.A. campus so she doesn't have too hard a time. As the story progresses, Hor-Shep-Sut becomes increasingly desperate to find her long lost love, and Ana also finds herself also yearning to connect intimately with this mystery woman who haunts her dreams and fantasies. It's up to her fiance, Chuck (David Jean Thomas) and uncle (Richard Lynch) to save her from what might prove to be a very unsettling end.

The sex scenes in this movie take a more sensual approach, with slow-boil encounters that feature no explicit nudity. While Seduction has tended to keep the ladies legs closed since earlier titles like Erotic Witch and Girl Explores Girl pushed the boundaries of softcore, director Glut has managed to craft some fine scenes that are more sensual and erotic then the typical Seduction fare. The emphasis is on restraint and building passion rather than all-out ravaging and in-your-face boo-ya. Sure, there are some horror elements thrown in that might offset the sensual balance, but all in all a watchable film and probably one of the better Seduction Cinema titles we've reviewed.