Reviews provided by RottenTomatoes
None of the film's many imitators has achieved something this immediately magnificent.
Detroit Free Press:
The restoration eliminates nearly all the distracting cracks and splices and stabilizes images that were previously jittery, allowing us to admire them in all their complex glory.
The stunning cinematography, made crisper by present-day technology, and the film's overall visual concept continue to make your jaw drop with admiration.
At the Movies:
This movie is certifiably nuts and naive in many ways, but it is so exciting.
New York Observer:
Catch it wherever and whenever it plays. It incarnates the idea of the Big City as a manifestation of modernism.
The film looks fabulous, and Gottfried Huppertz's original score is another worthy addition.
The great Fritz Lang created this chilling 1926 evocation of a mechanized utopia run by underground slave labor.
Here's a coincidence: The first must-see movie of 2010 is also the must-see movie of 1927. The difference is that you can actually see it now. Or most of it.
There's no denying either the influence of Lang's vision -- so much of what he did in this film lives on that we take it as cultural assumption -- or the still valid energy of his storytelling.
Los Angeles Times:
To see the film as the director intended, on the big screen with an original score recorded by a 60-piece orchestra, greatly enhances the reputation of a film already considered one of the icons of the silent era.
One of the last examples of the imaginative -- but often monstrous -- grandeur of the Golden Period of the German film, Metropolis is a spectacular example of Expressionist design.
New York Post:
The extended version -- the additional footage is easy to spot because it's rather worn and a slightly different size -- provides more of the extraordinary performance by the teenage Helm.
New York Times:
Far from a historical curio, Metropolis arrives, three-quarters of a century late, like an artifact from the future.
New York Times:
Occasionally it strikes one that [Lang] wanted to include too much and then that all one anticipates does not appear. But at the same time the various ideas have been spliced together quite adroitly.
A great artist contains multitudes, and Lang packed a host of contradictory longings into a single allegory.
St. Louis Post-Dispatch:
A fully realized work of art whose influence on science fiction, set design and symbolism can scarcely be put into words.
Building on earlier science fiction and endlessly influential on later works, Lang's film is a mammoth marvel, fusing modernism and expressionism, art deco and Biblical spectacle, Wagnerian bombast, sentimental Marxism and religiose millenarianism.
The New Republic:
I have just had a sensational night at the movies, and the picture was only 83 years old.
Too bad that so much really artistic work was wasted on this manufactured story.
Lang's impossibly vast skyscraper-ziggurats (inspired, it's said, by his first view of the Manhattan skyline) are the blueprint for nearly every science-fiction movie city of the past 30 years.
A movie whose graphic intelligence is exceeded only by its conceptual audacity.
The great thing is that despite the over-the-top acting, the makeup that doesn't know when to stop, the preciousness of so many of the compositions (Lang was nothing if not inventive), this is a great old movie-movie.