Plot so thin, it passes unnoticed.

Just perfect...

If you're interested in the topic at hand, you should just watch it and judge yourself because the reviews have gone very biased by people that didn't even watch it and just hate (or love) the creator. I liked it, it was well written, narrated, and directed and it was about a topic that interests me.

By the time the dramatic fireworks start popping off, each one feels earned.

Mr. Moto is tracking a group of foreign spies intent on destroying the French fleet as it enters the Suez Canal. By doing so, the foreign powers hope to stir-up animosity between France and England.Mr. Moto's Last Warning is a decent enough entry in the Mr Moto series, but far from being the best. The biggest problem I have with it is the pacing. Moto films usually have more life and energy to them. This one sort of drags in spots. I can't put all the blame on director Norman Foster as I don't necessarily think this is the best script he was given to work with. The script doesn't seem to have as much "meat" to it. I don't have any proof, but there is probably more padding in Mr. Moto's Last Warning than the other Moto films.Still, this is Moto so it's still going to be a fun movie. Lorre is as good as always. I've typed this a couple of times recently, but I don't think he ever gives a bad performance. Mr. Moto's Last Warning has one of the best supporting casts you'll find in one of these films - Geogre Sanders, Ricardo Cortex, John Carradine, Robert Coote, Virginia Field, and E.E. Clive. What a cast! The rest of the movie is great. Technically, as with all the Moto films, it looks like an A-movie.One small thing that I've always enjoyed about Mr. Moto's Last Warning is the reference to the film Charlie Chan in Honolulu. I understand that this was done in part to pay tribute to Warner Oland who had recently passed away. Nice touch.

As originally created by author John P. Marquand, Moto was an icy and distinctly lethal Japanese agent; 20th Century Fox, which had earlier created the extremely popular Charlie Chan series, toned down his more deadly qualities, cast German actor Peter Lorre in the role, and between 1937 and 1939 made eight films featuring the character. Although they did not really challenge the Chan films, they were popular in their own right, and it was not until American sentiment began to turn against the Japanese that 20th Century Fox dropped the character.Made in 1939, MR. MOTO'S LAST WARNING is the sixth film in the series, and it finds Moto (Lorre) working to foil an attempt to set the English and French against each other by blowing up the French fleet as it enters an English-controlled canal in the middle east. Although the film has a slow start, it is graced with a gifted cast that includes George Sanders, John Carradine, and Ricardo Cortez, and it soon comes up a snappy pace and proves unexpectedly watchable.Over the years the Chan films have drawn considerable condemnation from Chinese Americans due to the fact that Chan was never played by an Asian actor; somewhat curiously, the Moto films have escaped the same degree of politically-correct derision. This is all the more odd because Lorre is even less of Japanse than Oland and Toler were Chinese. Even so, Lorre is always interesting to watch, and his unexpected physicality (Moto is a master of judo) drives the film remarkably well.MR. MOTO'S LAST WARNING is the only film in the series presently in public domain, a circumstance that seems more accidental than intentional. The Alpha release is very much in line with that: the picture is shaky, particularly in the opening segments, and the sound is quite weak. Fans of the series would do better to go with the series editions now in release through 20th Century Fox--but no matter which copy you lay hands on, you'll find the film an enjoyable bit of flyweight fun. Recommended to fans of 1930s mysteries, thrillers, and espionage movies.GFT, Amazon Reviewer

In the long line of 'politically incorrect' Hollywood racial casting, Hungarian born Peter Lorre's Mr Moto is probably the least in need of historical/cultural apologies to facilitate our enjoyment of the eight dandy pics he made as the polite, but not quite knowable Japanese detective. This one is a particularly good outing as Lorre/Moto benefits from regular helmer Norman Foster's visual flair and his original storyline which has George Sanders & Ricardo Cortez plotting to disrupt joint Naval maneuvers between France & England @ Port Said, Egypt. Darkly handsome lensing from Virgil Miller (who brought similar chiaroscuro refinement to some of the Universal Basil Rathbone/Sherlock Holmes series), an unexpectedly nasty edge of perverse violence (watch for John Carradine's grim exit), and cleverly integrated Music Hall elements add a nice kick to the proceedings. Even the obligatory comic relief is tightly woven into the narrative fabric. Moto Rules.

The print I saw of this film was grainy and dark, but I still enjoyed seeing Lorre as Mr.Moto again. The film's highlights include Moto showing off his jujitsu, foiling saboteurs, and the early underwater photography. I also found very interesting Robert Coote's impression of Harold Lloyd as he played the awkward Venable. It's really good. At times Coote seems to be channeling Lloyd to the point where you wonder whether Harold didn't take legal action. In any case, this distraction makes him much less irritating than many detective's comedy sidekicks.Also quite interesting: the ending of this film is very tongue in cheek and anticipates almost the exact same ending in the Hope-Crosby vehicle "Road to Rio" shot ten years later.