Excerpt: Suadente e malinconico, il nuovo film di Jim Jarmush è uno sberleffo alla decadenza occidentale, ambientato tra Tangeri e Detroit, dove vivono i due amanti protagonisti di Only lovers left alive.
Excerpt: This is his first digital film and, in many ways, it is about the fact that the world will eventually pass you by, no matter how spectacularly cool you are. Still, with its beauty, humor and transfixing mood, Lovers is proof that we’ve still got lifetimes worth of coolness to mine from the films of Jim Jarmusch.
Excerpt: …stunning, funny and perfectly cast, with Hiddleston the embodiment of rock ‘n roll’s death fixations contrasted against Swinton’s sunny adventuress. With their wild pitch black and white blond locks, these two are a thinker’s “Sid and Nancy.”
Excerpt: When an artist like Jim Jarmusch tackles a love story between two vampires starring Tom Hiddleston and Tilda Swinton you know several things from the outset. We’re not going to be seeing anything less than transcendent performances, a philosophical sophistication in the narrative, and ethereal visuals, but I wasn’t expecting how those elements could bring blood sucking immortals back from the day walking, sparkling brink of cinematic extinction.
Excerpt: Only Lovers Left Alive certifies that Jarmusch only makes films a certain way that’s wildly different from mainstream expectations, and if one doesn’t mind his low-energy approach, his eleventh film is quite groovy.
Excerpt: Jim Jarmusch’s laid-back vampire drama is indelibly, effortlessly cool as it charts the long distance romance (both in time and geography) between two immortal hipsters, struggling to survive in the modern world.
Excerpt: Being a vampire isn’t all it’s cracked up to be, the director seems to be saying, and if the point was to re-create the utter tedium of immortality for the audience, well, mission accomplished.
Excerpt: It’s got the spirit of old rock ‘n’ roll mixed with romantic poetry and gothic gloom, powered by Einstein’s theory of spooky action. It should come as no surprise. Jim is a man who made a film with Screamin’ Jay Hawkins, after all. He knows for spooky.
Excerpt: Jarmusch has not bothered much with plot, and the movie adopts the careless, meandering pace of a story not moored in time. But with atmosphere enough to sublet to a score of lesser movies, and a wealth of style fashioned out of deep pockets of music, philosophy, aesthetics, and the pitch-perfect performances of his two deathlessly beautiful protagonists, he leaves us with more than enough to sink our teeth into.