The Crazies


The Crazies

Critics Consensus

Tense, nicely shot, and uncommonly intelligent, The Crazies is a horror remake that, unusually, works.



Total Count: 153


Audience Score

User Ratings: 199,106
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Movie Info

David Dutten is sheriff of Ogden Marsh, a picture-perfect American. But one night, one of them comes to a school baseball game with a loaded shotgun, ready to kill. Another man burns down his own house, after locking his wife and young son in a closet inside. Something is infecting the citizens of Ogden Marsh -- with insanity. In an effort to keep the madness contained, the government uses deadly force to close off all access and won't let anyone in or out -- even those uninfected. The few still sane find themselves trapped: Forced to band together, an ordinary night becomes a horrifying struggle for survival as they do their best to get out of town alive.


Timothy Olyphant
as David Dutten
Radha Mitchell
as Judy Dutten
Christie Lynn Smith
as Deardra Farnum
Brett Rickaby
as Bill Farnum
John Aylward
as Mayor Hobbs
Joe Reegan
as Pvt. Billy Babcock
Glenn Morshower
as Intelligence Officer
Larry Cedar
as Ben Sandborn
Gregory Sporleder
as Travis Quinn
Mike Hickman
as Rory Hamill
Lisa K. Wyatt
as Peggy Hamill
Justin Welborn
as Curt Hamill
Chet Grissom
as Kevin Miller
Tony Winters
as Town Pastor
Frank Hoyt Taylor
as Mortician Jim Finley
Justin Miles
as Scotty McGregor
Marian Green
as Mrs. McGregor
E. Roger Mitchell
as Fire Chief Tom
Michael Cole
as Site Coordinator
Mark Oliver
as Rescue Worker
Lynn Lowry
as Woman on Bike
Chris Carnel
as Car Wash Lunatic
Jimmy Waitman
as Car Wash Lunatic
Jay Pearson
as Car Wash Lunatic
Kathryn Kim
as Distraught Mom
Adam Dingeman
as Snickering Boy
Megan Hensley
as Babbling Teen
Megan Hensely
as Babbling Teen
Lori Beth Edgeman
as Distraught Mother
Ann Roth
as Distraught Woman
Michael "Mickey" Cole
as Distraught Boy
Rachel Storey
as Molly Hutchins
Bruce Aune
as Newscaster
Mary Lynn Owen
as Distraught Woman #2
Pierre Gagnon
as Distraught Son
Pierce Gagnon
as Distraught Son
Matthew Lintz
as Distraught Son #2
Wilbur Fitzgerald
as Distraught Husband
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Critic Reviews for The Crazies

All Critics (153) | Top Critics (40) | Fresh (109) | Rotten (44)

Audience Reviews for The Crazies

  • Oct 14, 2016
    A tedious, formulaic movie full of clichés, deus ex machinas, irritating loud bumps and characters who behave in the most incomprehensible way - which is a pity considering its good performances (especially Joe Anderson) -, and it has a terrible, ridiculous conclusion.
    Carlos M Super Reviewer
  • Jun 22, 2016
    Remake of George Romero's 1973 film of the same name. This movie was across the board just boring. Government accidentally releases biological weapon into small town's water supply. People lose their minds and start killing people. A few parts are suspenseful, but you'll be yawning through most of it.
    Patrick W Super Reviewer
  • Oct 31, 2015
    Not really among the best epidemic/zombie films out there but still gave the much sought-after thrill.
    Maymay A Super Reviewer
  • Oct 20, 2013
    No one is safe from the brutal onslaught of the mentally insane, so, yeah, this is pretty much just another day in Iowa. Okay, I exaggerate Iowa stereotypes, but if this film didn't go all George Romero on us and have the government mess with the people's affairs then you probably wouldn't have been able to tell that there was some kind of a disease that's influencing everyone's violent actions, so I question why they placed this remake in Iowa of all places, unless, of course, they came up with the idea after Timothy Olyphant hopped onto the project, with the condition that he would have be a sheriff again which left the filmmakers to try and think of a state where people actually care who county sheriff is. If the definition of insanity really is doing something over and over again and expecting different results, then Olyphant must have a serious case of this crazy, or "Trixie" virus, as reflected by, well, not necessarily his continuing to play a sheriff, but some of his film choices in the past. No, I reckon this film shows us that Olyphant can be dynamic with his sheriff roles, because here, he doesn't have a cool hat, so this may as well not even be a sheriff role, even if this is pretty much "Undeadwood". Oh no, wait, these aren't zombies, these are just crazy people, so I reckon this director, Breck Eisner, is taking some notes from his daddy, the former chief executive for Disney (*cough*nepo*cough*tism*cough*), and watering down some potential thrills. ...That's just a lame joke, people, because this film is by no means Disney-fied, so don't worry George Romero fans, you get your hardcore chills, and a superior remake along the way. Now, I may be that one jerk who thought that Zack Snyder's "Dawn of the Dead" was better than Romero's, but seriously, people, this isn't too shabby, and yet, it's far from being "Dawn of the Dead"... directed by Zack Snyder, being held back by a number of factors. This film might be a little less layered than the 1973 original, yet it still has enough layers for you to notice some focal unevenness, as storytelling has a tendency to jerk between segments, eventually to the point of having the narrative come off as kind of aimless at times, at least when backed by an unevenness in pacing. On top of being incoherent in structural focus, this film also gets to be incoherent in structural momentum, having plenty of moments of driving intensity, broken up by long, meandering stretches of excess filler that becomes repetitious after a while, and actually wears down tension more than it pumps it up. Perhaps thrills would be more consistent if the film was more consistent, rather than with a shaky focus that leaves the narrative to wander along, and down a familiar path no less. When it's not difficult to see where exactly this sometimes aimless thrilling is meandering to, predictability sets in, and for this, we have to place blame on the tropes, which are abundant, and often easy to disregard, but just as often glaring, especially when stressed by subtlety issues. The film is relatively smart, and such wit gets the final product to the brink of rewarding, but the push beyond that line never comes, because for every well-realized and inspired moment in storytelling, director Breck Eisner overemphasizes thematic and tonal elements, bombarding you will conceptual thrills that just end up watering down engagement value and gradually break down the compellingness of this promising thriller, while reflecting an ambition that in turn reflects missteps in Eisner's attempts to fulfill such palpable ambition. Flaws are limited and strengths are considerable, so this film could have easily been rewarding, but in the end, the overwhelming desire to be rewarding undercuts this promising project's punch, leaving the final product to crawl along, little by little, until it finally falls short of truly rewarding. Still, the final product comes close enough to that line to engage time and again, not necessarily as all that compelling, but decidedly as fairly well-done, even stylistically. Okay, perhaps the film doesn't stand out all that much on a stylistic level, but there's still plenty to commend within, say, Maxime Alexandre's cinematography, who grittiness has a certain rough handsomeness to it, and joins Mark Isham's atmospheric score in punching up tone, as surely as even more attributes punch up the more visual elements of this thriller. The effects aren't played up all that much, but when they come into play, they prove to be reasonably convincing, while audacious, if sometimes a tad annoyingly censored violence compliments intensity (There's a knife kill about an hour in that it particularly cool, if a smidge over-the-top), backing creative and tight set pieces that charge tension, due to their being sold so effectively by Breck Eisner's inspired direction. Now, Eisner's efforts are about as overambitious as they are genuinely inspired, and such desperation reflects shortcomings, rather than compensates for them, and even inspires some questionable directorial touches, notably an overplaying of jump scares, which, at the same time, reflect the strengths in Eisner's efforts, due to plenty of biting scares' being genuinely effective, though not quite as effective as meditative spots in direction that soak up tension, both nervous and dramatic. Eisner may put a touch too much heart into storytelling, but when his efforts are at their most realized, the film is very effective, keeping up tension and even some emotional resonance that may not be consistent enough for the film to reward, but provide glimpses into the potential within this story concept. Providing a more minimalist, maybe even less creative interpretation of this subject matter, this loose remake of one of George A. Romero's more infamous non-zombie flicks might very well not have as promising of a story concept as its inferior original, but that's not to say that there's not still plenty of potential, as the mythology and thematic depth remain intriguing, while dramatic weight gives this thriller more smarts and human depth, brought to life by inspired performances. If nothing else is consistently inspired in this film, it is the performances, as most everyone does an adequate job of projecting fear and dramatic layers, and that particularly goes for Joe Anderson, - who nails both an Iowa accent and a layered portrayal of a strong second-in-command who brutally grows more dominant in times of danger - as well as leading man Timothy Olyphant, whose thorough charisma and engaging presence makes the David Dutten character a worthy lead. Really, there are plenty of very notable strengths throughout the film, and while the flaws are just as notable, to the point of canceling out the reward value, the final product comes close enough to a rewarding state to compel just fine through and through, in spite of some lost potential. Overall, uneven focus and pacing drag the film along as aimless, while conventions and subtlety issues wear compellingness down enough for the promising effort to lose more and more juice, until finally sputtering out just short of a rewarding state, the glimpses into which - seen through sharp style and set pieces, generally effective direction and inspired acting behind worthy subject matter - are great enough for Breck Eisner's "The Crazies" to stand as an improvable, but nevertheless decent, reasonably bright thriller. 2.75/5 - Decent
    Cameron J Super Reviewer

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