This is a beautiful refurbishing of one of Jarmusch’s more uneven films, which is still a must-see for a handful of beautiful performances.
In the film, what starts as a subtle undercurrent of knowing humor curdles into overt self-referentiality.
Jarmusch’s breakthrough film gets a sturdy upgrade from Criterion, with richer visuals that testify to its spartan beauty.
The film celebrates the thingness of things, as well as the assuring clarity and lucidity that can arise from devotion to knowledge.
Alex Cox’s punk western has been dug up from the dregs of oblivion by Kino Lorber and handsomely given a long-overdue director’s cut Blu-ray treatment.
The film seems far more interested in celebrating a short-lived era of artistic invention than interrogating it.
One of Jarmusch’s best and most divisive films has been outfitted with a beautiful and imaginative Criterion package.
Throughout, Jim Jarmusch playfully blurs the line between driver/passenger, servant/customer, and native/immigrant.
The film reveals the erudition and shrewd self-awareness that Jim Osterberg drew on to become Iggy Pop.
Uncle Howard attempts to do much the same thing as I Called Him Morgan but with less success.
Paterson’s sunny aesthetic and disposition marks a stylistic departure for writer-director Jim Jarmusch.
There’s a quietly revelatory virtue to Paterson in its resistance to disturb its subject’s life.
It’s safe to say our cultural fascination with the blood-sucking undead isn’t going away anytime soon.
Sony’s Blu-ray may be light on extras, but the charms of Jarmusch’s funny, sexy, and elegiac vampire movie speak for themselves.
The Buenos Aires International Festival of Independent Film seems to channel the sheer variety of the Internet, where it seems all movies from all eras are available.
As is so often the case in Jim Jarmusch’s films, simply spending time in the company of his creations proves engrossing.
Considering the genre’s proliferation across various mediums over the last few years, it’s perhaps appropriate that Jim Jarmusch would now indulge the impulse to direct a vampire movie.
Although the letters help to explain the developing psychology that would lead to Marvin’s film career, Epstein provides only a cursory understanding of Marvin as cultural icon throughout.
Whereas Wong Kar-wai has found himself ensnared by his genre of choice, Thomas Arslan has kept a healthy distance from his own: the western.
All of the extras are recycled from the DVD, so there's some standard-definition content that's suffered upscaling.