M&M Hentai

M&M Hentai

SIGN UP
|
LOG IN

Movies in Theaters

Opening This Week

Coming Soon to Theaters

Certified Fresh Movies

Movies at Home

Vudu

Netflix Streaming

iTunes

Amazon and Amazon Prime

Most Popular Streaming Movies

Certified Fresh Movies

Browse All

More

Top Movies
Trailers

Only Murders in the Building: Season 2

Columns

24 Frames
All-Time Lists
Binge Guide
Comics on TV
Countdown
Critics Consensus
Five Favorite Films
Now Streaming
Parental Guidance
Red Carpet Roundup
Scorecards
Sub-Cult
Total Recall
Video Interviews
Weekend Box Office
Weekly Ketchup
What to Watch
The Zeros

Jurassic Park Movies Ranked By Tomatometer

Marvel Movies Ranked Worst to Best by Tomatometer

Amandla Stenberg’s Five Favorite Horror Films

The Sandman Season 2: What’s Next for the Dream Team

Trending on RT

Prey

The Sandman

Bullet Train

Thirteen Lives

Bodies Bodies Bodies

× Close

Sign up for Rotten Tomatoes

By signing up, you agree to receiving newsletters from Rotten Tomatoes. You may later unsubscribe.

× Close

Forgot your password

We want to hear what you have to say but need to verify your email. Don’t worry, it won’t take long. Please click the link below to receive your verification email.

You might also like

See More

Want to submit changes to your review before closing?

Submit only my rating
Keep writing

Discard changes & exit
Submit only my rating
Keep writing

In this classic German thriller, Hans Beckert (Peter Lorre), a serial killer who preys on children, becomes the focus of a massive Berlin police manhunt. Beckert's heinous crimes are so repellant and disruptive to city life that he is even targeted by others in the seedy underworld network. With both cops and criminals in pursuit, the murderer soon realizes that people are on his trail, sending him into a tense, panicked attempt to escape justice.

Mystery & thriller,

Crime,

Drama

Egon Jacobson ,

Fritz Lang

Peter Lorre

Hans Beckert

Ellen Widmann

Madame Beckmann

Inge Landgut

Elsie Beckmann

Otto Wernicke

Insp. Karl Lohmann

Gustaf Gründgens

Schränker

Theodor Loos

Police Commissioner Groeber

Georg John

Blind beggar

Ernst Stahl-Nachbaur

Police chief

Fritz Lang

Director

Egon Jacobson

Writer

Fritz Lang

Writer

Seymour Nebenzal

Producer

Edvard Grieg

Non-Original Music

Fritz Arno Wagner

Cinematographer

Paul Falkenberg

Film Editing

All Critics (61)
|

Top Critics (20)
|

Fresh (61)

This earlier version of M is downright fantastic. Peter Lorre shows you how tremendous of an actor he was before taking a few silly roles in Hollywood pictures. More engrossing than Lang's other work.

John B

Super Reviewer

The first question you might find yourself asking while watching this movie is just where the hell is the 'stranger danger'? Despite the news of a serial killer preying on children in the news for a long time, we still see children on the street alone, and one easily lured in with candy and treats. Peter Lorre is brilliant in the role of the killer, setting the tone early on as director Fritz Lang cuts to him looking in the mirror, and, like a child, distorting his face to look monstrous, while the police are talking about the psychological profile of a killer.

While the police are shown at work with some early examples of forensics - fingerprints, handwriting analysis, and sifting through physical evidence in concentric circles around the crime scene - the overall picture of them is unflattering. In a very heavy-handed way they begin putting heat on the street and in pubs, asking for papers and rounding people up for little reason, motivating an organized crime ring to get involved to find the killer themselves and get things back to normal. The police and mob are barely distinguishable as they both discuss the matter over cigars and alcohol in separate meetings as Lang flips back and forth between them, and perhaps that's one of his larger points about Germany at the time. He does do a fantastic job at establishing a dark feel to the film throughout, and is brilliant when he cuts the sound a few times, letting the action speak for itself, which is heightened because of the darkness of it all.

Unfortunately the movie gets a little bogged down in its middle portion, when Lang could have shown us other sinister acts from Lorre or at built some type of backstory in his characters. Instead, he shows us the surveillance network of beggars and focuses too much on procedure. At one point we do see Lorre nearly salivating at the sight of a child's reflection in the window of a shop he's looking into, and at another, him trying to lure in his next victim, but he's simply not on-screen enough. I have to also say that when the mob have found him holed up in a building and don't just call the police instead painstakingly going through the rooms, it seems like a plot hole, since from their perspective all they need is to get the police off the streets.

The ultimate scene showing Lorre confronted by a mob intent on killing him after a mock trial redeems the film, however, and is riveting. The scene of Lorre seeing them all staring at him as Lang has the camera pan slowly from left to right is brilliant, as is his own statement in self-defense shortly afterward. We have an unruly mob confronting a child killer, where both sides are reprehensible. We feel for the mob when they voice their concern that he will simply serve a little time in a mental institution, then be back on the street again and kill again. Perhaps improbably, we even feel for Lorre, as he says he's sick, in what is one of the great scenes in film:

"But I can't help it! I can't ... I really can't ... help it! What would you know? What are you talking about? Who are you anyway? Who are you? All of you. Criminals. Probably proud of it too. Proud you can crack a safe or sneak into houses or cheat at cards. All of which it seems to me you could just as easily give up if you had learned something useful, or if you had jobs, or if you weren't such lazy pigs. But me? Can I do anything about it? Don't I have this cursed thing inside me? This fire, this voice, this agony? I have to roam the streets endlessly, always sensing that someone's following me. It's me! I'm shadowing myself! Silently...but I still hear it! Yes, sometimes I feel like I'm tracking myself down. I want to run - run away from myself! But I can't - I can't escape from myself! I must take the path its driving me down, and run and run down endless streets! I want off! And with me run the ghosts of the mothers and children. They never go away, they're always there! Always! Always! Except ... when I'm doing it .. when I... then I don't remember a thing. Then I'm standing before a poster, reading what I've done. I read and read ... I did that? I don't remember a thing! But who will believe me? Who knows what it's like inside me? How it screams and cries out inside me when I have to do it! Don't want to! Must! Don't want to! Must! And then a voice cries out, and I can't listen anymore. Help! I can't!"

There are few positive role models here, except perhaps the counsel who stands up and says and tries to defend him. This a dark, brooding film showing us some of the worst aspects of mankind. A child killer, sure, but also a mob which draws the wrong conclusions and gets violent without evidence. There is a lot of smoking and drinking. Lang shows one guy drinking out of a giant stein with a plateful of sausages in front of him, and another guy from a camera angle up his crotch practically as he's sitting down. If it was made by someone other than a German, you might think it a caricature, as it's made by Lang, we know he's expressing his frustrations with the state of Germany at the time. The ending that has a mother simply asking the audience to watch out for their children probably refers to watching out against predators, but also watching out for them that they don't get swept up into mob hysteria (history would turn out differently of course). It's this hidden message warning against Nazi Germany, Lorre's performance, and Lang's direction that all make this a very good film.

Antonius B

Super Reviewer

Fritz Lang's 1931 film "M" opens up with kids playing a game and a little girl in the middle of a circle of kids imitating a clock and singing a song about a child murderer underlying the importance of time in the film and the character of Hans Beckert played masterfully by Peter Lorre. Little Elsie Beckmann is returning home as her mother prepares dinner. Elsie stops along the street playing with her ball against a reward poster for any knowledge on the murderer of kids in the city and just as the audience has finished reading the poster, a shadow appears over the poster telling Elsie what a beautiful ball she has and this is our introduction to Hans, he's a figure that has avoided detection for so long that even the audience isn't able to see him at first. Elsie's mother is starting to become frantic as Hans takes Elsie to buy balloons from a street vendor with his back to the au
Poopeegirlz
Redditgone Wild
Tags On Lushstories

M&M Hentai

Report Page