ReaderKenka Let's be realistic.

Brendon Jones It’s fine. It's literally the definition of a fine movie. You’ve seen it before, you know every beat and outcome before the characters even do. Only question is how much escapism you’re looking for.

Arianna Moses Let me be very fair here, this is not the best movie in my opinion. But, this movie is fun, it has purpose and is very enjoyable to watch.

Edwin The storyline feels a little thin and moth-eaten in parts but this sequel is plenty of fun.

junid_mustafa 81 years after this movie was produced i was honored to watch it and it was really worth it.A marvelous view about future of industrialization which (by the way) is our present day reality when machine takes the lead.But still humanity is in the struggle as always was for justice and in war against poverty and social crises.

ozan erdogan I did watch this movie and not even a bit entertained. Charlie Chaplin was a just 20th century idol. Actually I don't like any silence movies and even didn't liked "The Artist" but I did watch this movie just for checking why even young people watching his movies in 21th century with a funny looking image.

lasttimeisaw Mr. Chaplin's pièce-de-résistence, MODERN TIMES is his last silent feature, but rendered with an innovative adulteration of sound voices solely from mechanical devices, barring Chaplin's near-end humorous performance of THE NONSENSE SONG, for the very first time, audience hears the maestro's real voice from the screen in a gibberish ditty, one could only imagine the hype and excitement at then. MODERN TIMES introduces Chaplin's iconic screen alter-ego aka. little tramp as an assembly-line worker in the Depression era, the factory's pristine props hark back to Fritz Lang's METROPOLIS (1927), but less futuristic, more realistic in its scale of grasping capitalism under the efficiency- prioritizing doctrine whereas a proletariat like the tramp, has no means to secure an auspicious future and is inescapably subjected to the exploitation by the industrialized society, picked as a guinea pig for a novel lunch-feeding contrivance, constantly under the duress of the ever- accelerating assembly-line, after being engorged by it (a brilliant surreal light-touch), he is driven mad and wreaks havoc on the machine and is sent to hospital, subsequently, being mistaken as a Communist and thrown into the prison, where he accidentally becomes a hero by thwarting a jail- break attempt, but ironically because he is high on cocaine, which he mistakes for salt in his lunch. Yet, whenever he is given a new lease on life, reality will cunningly squash his effort although in some cases, he has only himself to blame for. There is a skewering political spin aiming at the modernized assembly line, the humongous machines, the callous industrialists and the oppressive authority, being buried underneath the surface of bang-up farces, which has been scarcely actualized in Chaplin's works before. The plot mainly consists of a string of superlative skits de rigueur, which is completely in Chaplin's elements, the tramp's free-flowing pantomime, delightful slapstick and ingeniously devised set pieces (although the stomach-churning duet crops up as a head-scratcher) are typically endearing to watch, what is more astonishing is how he can make tough stunts look incredibly effortless, in particular with sleight of hand, an arresting trompe l'oeil is accomplished when he roller-skates blindfold against a matted painting which puts viewers at the edge of their seats for his safety. The story also presents a fiery heroine, the gamin (Goddard), a recently orphaned girl who is anything but a damsel-in-distress, Goddard, although is not endowed with Chaplin's bent of physical comedy, is impeccably elemental in foregrounding the gamin's gallantry and loveliness, takes on a weighty counterpart against the tramp's unostentatious playfulness, together, they help each other out in the difficult times, share bitter-sweet moments. A self-encouraging coda might betray Chaplin's precaution that comedy has its built-in calling to look on the brighter side, by and large, MODERN TIME is a reverberating showcase of Chaplin's competence which further transcends its time and context.

Hitchcoc Charles Chaplin, if he never did anything else, will be remembered forever for this film and "City Lights." In this one, there seems to be a revolving door to the jail. He is arrested time after time after time. He is a cog in the machine of the factory where he works. He does monotonous work, putting a single bolt on some piece of equipment. Eventually, he breaks down and causes a commotion, getting himself thrown in jail. He meets a free spirit, played by Paulette Goddard, one of the true beauties of the silent film. Through a series of random events, including inadvertently stopping a burglary, he is give jobs, but they are always a disaster because of his high strung nature. He is accused of being a communist. He comports with criminals, always seeming to be in the wrong place at the wrong time. Society doesn't seem to like free spirits and he pays the price. The thing is that no matter what, he stays in high spirits and continues to prosper as a man.