"Horror being a precious commodity in the cinema and a potent lure to the box-office, it is not altogether surprising this week to discover that two Broadway houses -- the Mayfair and the Rialto -- have avidly laid claims to the same picture. Its name is Mark of the Vampire and it manages, through use of every device seen in Dracula and one or two besides, to lay a sound foundation for childish nightmares... For all its inconsistencies, Mark of the Vampire should catch the beholder's attention and hold it, through chills and thrills, right up to the moment when the mystery of the vampires of Visoka is solved. Like most good ghost stories, it's a lot of fun, even though you don't believe a word of it."
The New York Times

"While horror is on, it's done with a capital 'H'... It's all well-produced, well-acted, well-directed by that old master of the screaming thrill Tod Browning."
Hollywood Reporter

"The daddy of all the thrill pictures. It is the horror film to end all horror films."
Los Angeles Times

"Beginning where most thrill pictures leave off, killing entertainment is ladled out in good measure in this one."
Motion Picture Daily

"Chiller that turns out to be a first class mystery full of suspense."
Film Daily

"This is a picture which should give the 'horror' fans all they want. It's full of shrieks and screams, gasps and shudders. The stuff commonly supposed to change red blood to ice water starts right at the beginning; a little slowly, perhaps, as the explanatory groundwork is being laid. When the film really gets down to cases, attempting to demonstrate how completely it can scare folks with devilish melodrama, the shivers and shakes should come thick and fast. Approaching the climax, weird and eerie suspense supercharging all action and reaction, audiences are likely to be nervously perched on chair edges."
Motion Picture Herald

Compiled by Bret Wood