M (1931)

The critic calls it one of the all-time greats for its groundbreaking imagery and moral ambiguities in depicting the killer and society. They highlight Peter Lorre's performance and the film's exploration of mob justice and ironies.

The review describes it as a devastating serial killer template that retains its gripping power, focusing on mob justice and human weakness. It singles out the convincing portrait of a sick society and Peter Lorre's pitiable performance as the killer.

The film is an unqualified masterpiece and an undeniable classic that makes a powerful case against capital punishment while pioneering forensic policing on screen. It is dominated by Peter Lorre's peerless performance as the child killer.

The critic praises the film for giving depth and sympathy to its central figure while examining societal sickness and hypocrisy. They highlight Peter Lorre's performance and Lang's innovative use of sound and visuals in his first talkie.

The critic praises Fritz Lang's 1931 masterpiece as a superb thriller that still fascinates on re-release, with its depiction of paranoia and a feverish atmosphere around the hunt for a child killer uniting police and criminals. Peter Lorre's performance as the tormented murderer and the film's innovative use of sound and visual details like fetishised smoking are singled out.

The restored film remains gripping and effective more than 80 years later as a taut masterpiece about a city hunting a child murderer. Turan singles out Peter Lorre's pitiable yet terrifying performance and the film's inventive sound design and camera work for praise.

The film is a powerful portrait of a diseased society filled with grotesque characters and a palpable hatred for early 1930s Germany. Ebert singles out the haunting faces of the actors and Peter Lorre's compelling performance as the killer for particular note.

The critic hails the film as a genre-establishing masterpiece whose urgency has not aged. They single out Lang's masterful use of sound design, objects, symbols, and montage to convey terror and humanity.

The film is an extraordinarily effective and strong cinematic work with remarkably fine acting. The reviewer notes that its morbid and shocking narrative about a demented child murderer, though left largely to the imagination, makes for compelling but disturbing viewing.

An extraordinary, impressive and strong first talkie from Fritz Lang and Thea von Harbou. The reviewer praises the realistic police and underworld chase sequences and Peter Lorre's gripping performance as the murderer pleading for understanding of his pathology.

The critic praises Fritz Lang's M as a chilling, misanthropic masterpiece that anticipated film noir, highlighting its economical narrative, use of sound, and Peter Lorre's performance, while noting its cynical view of society and possible response to rising Nazism.

The critic selects M as the best horror film of 1931 over Universal monsters, commending Lang's innovative use of sound to build suspense and Peter Lorre's vulnerable yet haunting performance that complicates notions of evil in the film's powerful climax.

The critic calls it a taut chiller that skillfully shifts audience sympathies. They praise its sophisticated approach to the serial killer narrative and social commentary, noting its enduring relevance.

The critic highlights the film's gripping pace through inventive cutaways and object shots that build tension without relying on action sequences, along with its examination of authority, paranoia, and justice. They note its continued relevance and the strong restoration quality.