The LEGO Movie 2: The Second Part
The Walking Dead
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No consensus yet.
All Critics (23)
| Top Critics (6)
| Fresh (22)
| Rotten (1)
Vidor, playing to that crowd, sternly warns against going it alone.
The camera style owes something to Murnau, but the sense of space -- the vast environments that define and attack his protagonists -- is Vidor's own.
A drab actionless story of ungodly length and apparently telling nothing.
Throughout this subject Mr. Vidor shrewdly avoids the stereotyped conception of setting forth scenes, and in more than one case he uses his camera in an inspired fashion.
The performances are absolutely flawless, and astonishing location work in the busy New York streets (including a giddy tour of Coney Island on a blind date) lends a gritty ring of truth to his intensely human odyssey.
What's extraordinary is that what could have come off as a case study instead packs a consistently strong emotional punch.
In this powerful silent drama from director King Vidor, James Murray gives a superlative performance as an idealistic young man trapped in a dead-end job whose ambitions are dogged by tragedy.
A truly great work of art: a one-of-a-kind blend of domestic drama and a depiction of urban geometry.
The Crowd is a masterpiece - moving, funny, heartbreaking and ultimately hopeful. It's a must for anyone interested in the roots of moviemaking, and it's a good choice to show to someone who thinks they wouldn't like silent films.
A remarkably prescient picture.
King Vidor made a visually striking, influential feature about ordinary people and their anonymous, impersonal lives in the Big City
Occasionally pushes its patriotism motif too far, but is extremely successful in all other ways, particularly in its strong portrayal of a full circle self-realization, love story, and sweeping portrait of America.
A film that still relates to us today. Not a fan of the silent era but this one I could endure. The acting is great and the story is done very well; it touches upon the many struggles that working Americans go through. Wouldn't watch this again, but I enjoyed it.
in the waning years of the silent era, king vidor showed us the dark side of the american dream in a film that still seems daring and modern after 85 years. the archetypal story of john and mary sims is anchored by some stunning camera work and a pair of powerful performances from james murray and eleanor boardman. james murray was plucked from anonymity to star as a man striving to break free from the crowd, the part of a lifetime, in which he performed magnificently. in some ways he never recovered from that experience and was reduced to the life of a homeless alcoholic. legend has it king vidor himself found him panhandling in the streets and offered him a job but murray turned it down. he drowned just a few years later after falling from a pier. what a pity, in this year of 'the artist', that the great american movie still isn't on dvd
King Vidor's The Crowd doesn't spend its time telling you a grand science fiction or horror story, but instead tells the simple tale of a man who becomes part of a family and goes to the edge and back with his family. It sounds very corny, I suppose, but Vidor makes it work so well. The film is full of incredibly visual storytelling and marvelous performances from both Eleanor Boardman (Vidor's wife at the time) and James Murray, who consequently had his only leading role in this film. The sad story about his personal life and how he came to a tragic end outside the confines of the film lends itself to his fantastic performance, and you feel genuine sympathy for him at all times. Sometimes overlooked and underappreciated, The Crowd will pull at your heart strings and keep you interested through every turn. It's a reminder that grand storytelling isn't always necessary and that visuals are always more important than dialogue.
A messy, overdramatic narrative about finding happiness despite overwhelming negative circumstances. Watching it right after I Was Born But..., it just felt ham handed, which is especially damning given its spy-in-the-system anti-Capitalist intentions. To be even marginally subversive, you have to trust your audience's intelligence (or at least be willing to play around with it). The Crowd is competently made, but doesn't have much intelligence to speak of at all. Though I found it an entertaining melodrama, I really don't see what in here is worth championing in a cinematically historical context.
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