Rating: 
Summary: Plot, precision and no pretension whatsoever
Review: Halfway between Rope and Rear Window, Dial M For Murder is a masterpiece of dialogue-driven thrills, filled with snappy lines, memorable characters and magnificent twists and intrigues. Blackmail, bribery, burglary, adultery, murder, manipulation and set-ups all slot together into one seamless, flowing crescendo of a roller coaster ride that takes you up and down and in and out of alternating suspense and excitement. Originally written as a play, the writing is so intelligent that this film surpasses the narrow constraints of its genre, avoiding any level of predictability – every time you think you know what’s going to happen, something comes dashing at you from a completely different angle and knocks you into another direction, until you just hold on and see where you end up. The acting, though not outstanding, serves its purpose admirably, and you feel for the characters and do actually care whether they live or die, which is always a bonus in a story revolving around murder. A number of long takes keep the film moving swiftly onwards, and despite its for the most part one-room setting, making it obviously lacking in spectacle, it never becomes stale.Dial M for Murder is seen as one of Hitchcock’s weaker films because of its complete lack of pretension – I guess it’s just what constitutes your taste in films. A lot of people dislike this film because it is plot-driven and not, dare I say it, arty and high-brow, but don’t think that means it is devoid of creativity. Though it is set almost entirely within one flat, Hitchcock far exceeds the limitations placed upon such a setting. The tension created by the camera circling Grace Kelly when she is on the phone is intense, the frequently astounding camera shots that swoop in from the other side of the room to extreme close-ups of, for example, keys, are ingenious instruments of plot-progression, and the top-down soon-to-die shot as the murder is planned is definitely worthy of note. If you want the camera to tell the story, then this isn’t the film for you, but if you’re okay with the idea of a film that contains – God forbid – dialogue, and intelligent, stirring, rip-roaring, rousing dialogue at that, then Dial M For Murder is the perfect movie. I would recommend this film to virtually everyone. If you like the theatre or reading books or listening to radio plays, you’ll like this. If you like plot-based movies, you’ll love this one – it could teach today’s films a thing or two about substance. If you like dialogue-based films like anything by Quentin Tarantino, Polanski’s Chinatown or The Usual Suspects, you’ll like Dial M For Murder. If you’ve ever watched more than one episode of Colombo, you will love it. If you like Grace Kelly, you’ll like this. But (and it’s a big but) if you prefer action and explosions to plot, Jean-Luc Goddard to Robert Zemeckis, avant-garde to Hollywood or the second half of Titanic to the first, then you’d probably be best giving this film a miss.
Rating:
Summary: Best character portrayal by Ray Milland
Review: This classic will always be my favorite. For those who like a movie with superb dialogue and suspense, this is it. I don't usually laugh out loud watching an Alfred Hitchcock movie, but every time I hear Ray Milland say: "What shall we do, play cards?" I do. Don't leave this one out of your collection. It's just as entertaining the thirtieth time you watch it as it was the first.
Rating:
Summary: A Hitchcock thriller with first rate cast and good plot
Review: "Dial M For Murder" is one of Hitchcock's lesser known movies from the fifties. It was taken from Frederick Knott's successful stage play and he also wrote the screenplay. The film had a strong cast which included Ray Milland, Robert Cummings, and, in her first film for Hitchcock, Grace Kelly. The supporting cast included John Williams and Anthony Dawson. The film was made in 3-D but never released in this form here in the U.K. Tony Wendice (Ray Milland) is aware that his wife Margot (Grace Kelly) is having an affair with Mark Halliday (Robert Cummings). Margot is hoping for a divorce but her husband has other plans - Tony is alarmed about the thought of having to live without his wife's money so he decides to have her murdered. By chance he runs into an old college acquaintance called C. A. Swann (Anthony Dawson) who is known to have a criminal past and has in fact been in prison. Tony decides that Swann would be the ideal man to do the murder as he has no connection with Margot and offers him £1,000 to do the deed. Swann is reluctant at first so Tony has to resort to blackmail threatening Swann with exposure of some of his past criminal activities to persuade him to become involved. On the night of the planned murder Tony is dining out at a restaurant with Mark and some others (which is to be his alibi). He has left a key under the stair carpet for Swann to enter the apartment and at 11.0 p.m. Tony will phone Margot from the restaurant - Swann will be hiding behind the curtains and when Margot answers the phone he will strangle her from behind. The perfect crime - or is it? Unfortunately, due to unforeseen circumstances things don't quite work out as planned and there are many twists and turns before the police inspector (John Williams) has got it all figured out. Some favourite lines from the film: Robert Cummings (to Grace Kelly): "I can see this is going to be a rough evening. All of us saying nice things to each other". Ray Milland (to Anthony Dawson): "I thought of three different ways of killing him. I even thought of killing her - and that seemed a far more sensible idea". Kelly (to Cummings): "Do you really believe in the perfect murder?". John Williams (to Cummings): "They talk about flat footed policemen. May the saints preserve us from the gifted amateur". Hitchcock's cameo appearance in this film is a little different as he doesn't actually appear "in person". He is seen in the school reunion dinner photograph that Ray Milland shows to Anthony Dawson early in the film. Robert Cummings had starred in a previous Hitchcock film called "Saboteur" (1942). Grace Kelly went on to make two more films for Hitchcock - "Rear Window" and "To Catch a Thief" (both in 1954). Talented character actor John Williams was also in Hitchcock's "To Catch a Thief". "Dial M For Murder" was remade in 1998 as "A Perfect Murder" with Michael Douglas, Gwyneth Paltrow and Viggo Mortensen (the last named was also in the remake of "Psycho"). Another of Frederick Knott's plays made into a film was the excellent thriller "Wait Until Dark" starring Audrey Hepburn.
Rating: 
Summary: Flat performances - Modern version is better
Review: While this one is full of suspense, I wasn't as impressed with it as, say, 'Rear Window' (the best!) or 'North by Northwest' (even with its corny ending). This one would have fared better with more outside scenes. Everything takes place in the small confines of the couple's posh NY apartment. 'Rear Window' worked well under this technique, but the excitement and suspense lose momentum in 'Dial M's stifled environment. Also, the actual murder scene is corny and unbelievable. I preferred the modern version, 'The Perfect Murder'. I got the director's cut and learned that a cut scene implicated Gwyneth's character. She certainly had reason to kill her husband, but she used that reason to contrive the murder scene and make it look like she was attacked (throwing the kitchen into disarray). The director opted for a more subtle ending, but the dual-murder message is not completely lost. Hitchcock's wife (Grace Kelly) is far too unknowing and submissive. Her affair is sympathized and superficial; the lover is involved only in uncovering the husband's dastardly plan. Clunk!
Rating:
Summary: A Lot More Than "The Master of Suspense"...
Review: Let's forget for a moment that Alfred Hitchcock was the best director at creating and sustaining gut wrenching suspense. That will always be his trademark; the ability to milk the tension of a scene to the very last drop. The Master of Suspense? It's just too easy to classify him as this suspense thriller hack and dismiss his many virtuoso talents. What I'd like to remember Mr. Hitchcock for is his ingenious ability to create a sense of pathos & psychosis in most of his main protagonists and villains; meanwhile having us relate to them in their immoral behaviors. Deftly, Mr. Hitchcock uses this transference (from screen character to viewer) so we can relate and identify directly to their situations and motivations however moral or immoral. In Dial M for Murder, we can't help but to go against our own moral judgement and wish that the murder of Grace Kelly's character goes as planned by her husband. In the film's expository, a murder plan is hatched. Mr. Hitchcock masterfully sets up this scene with a changing of the point of view in the story and main characters. We are soon aware that the Ray Milland character is the central figure and he has the central motivation throughout the film. (although this changes later in the story) What's haunting and eerie about this film's premise is Hitchcock's use of the point of view throughout the film. We see the film through Milland's eyes and there are many POV shots to prove it. With a bit of reservation, when the dramatic first half climax arrives we hope that the hired killer stays long enough to carry off his execution of the Grace Kelly character. The reason is because Hitchcock has conditioned our response with tension and suspense in this highly dramatic situation. We see Milland's watch has stopped, a restless hired killer ready to abort, a man taking up precious time on a pay phone, and the extreme close up of the dial number. In "western" film narrative with all of these suspense elements inter cut together we expect a big payoff. And the audience wants to see this murder carried out. Variations of this theme were played out beautifully in Robert De Niro's, Travis Bickle character at the ending climax of Taxi Driver and Anthony Hopkin's Hannibal character in The Silence of the Lambs. (When Hannibal escapes that weird detainment configuration and Travis shoots down the pimps we are rooting for murder) This is something Mr. Hitchcock knew way ahead of its time and it's a very odd dynamic; a compelling reality in the audience to movie-story relationship.
Rating:
Summary: Not my favorite Hitchcock...
Review: But good nonetheless. Grace Kelly is luminous here; as my husband says, "Why would anyone want to murder Grace Kelly?" Indeed! Overly complicated; the twists and turns are somewhat hard to follow--pay attention to the key. Kelly's character is a little too victimized here for my taste (but apparently not Hitchcock's); she tends to do whatever hubby (Ray Milland) dictates. He totally dominates and patronizes her. What in the world did she see in him in the first place? Robert Cummings is not the hunky mate we would wish for Kelly; would that Milland was not a murderous SOB so they could ignite some sparks. Better to enjoy "To Catch a Thief" for spark-igniting between Kelly and Cary Grant. An interesting watch, though, just to see the interplay between Kelly and Milland, who fell in love during filming. Alas, Milland would not leave his wife. Oh, well, some day her prince will come.
Rating:
Summary: Murder & Ultimate Suspicion
Review: This film is one of Alfred Hitchcock's best. He did a wonderful job in the setting of the story and he created a mysterious and twisted plot full of never-ending suspicion. Even though you know what is going to happen and when it is going to happen in this film,it still makes you wonder what could go wrong in this flaw-less murder plan. Grace Kelley does an excellent job playing the beautiful (but not so innocent) unsuspecting wife of Ray Milland, who also does an excellent job of plotting the plan and revealing it to the killer. This is a 5-star must see classic!
Rating:
Summary: Well acted Murder Mystery
Review: Good casting and a good story highlight this movie with Ray Milland as a man who first tries unsuccessfully to murder his wife (Grace Kelly) and then tries to frame her for murder, however a knight in shineing armor (Robert Cummings) and a bright police cheif come to her rescue in this thrilling and somewhat witty film from Alfred Hitchcock.
Rating:
Summary: not a classic
Review: i liked this movie for one reason...GRACE KELLY. this film was just boring, no suspense, no comedy, i hated ray milland and the ending was pitiful. the three stars are for Grace.
Rating: 
Summary: Only 3D could save this loser....
Review: Grace Kelly, in training, had not discovered how to GLOW for the camera. Reportedly having an affair with Milland at the time, there is no chemistry to suggest they are aware each other is on the same soundstage. Robert Cummings, mega-dosing on vitamins, would have been better served by an anachronistic vial of Viagra. Sir Alfred is asleep at the wheel this time around, too. A 3-D pair of bloody scissors tossed into the DVD audience would help disturb the snooze. Apparently the rotund one had not yet calculated how a significant musical score might help a turkey fly!
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