- By Jessica Kiang
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- May 24, 2013 6:52 PM
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- 10 Comments
From the very first opening titles, written in a Germanic font that immediately conjures everything from “Triumph of the Will” to images of big-busted ladies screaming in campy close-up in 1970s cheapie horrors (it may be the only time in Cannes that a film got a big laugh for a typeface) it’s perfectly clear that the Jim Jarmusch in whose company we’re about to spend a couple of hours is not the wilfully obscure surrealist of “The Limits of Control,” nor the considered, melancholic philosopher behind “Dead Man,” nor even the oddball ragtag troubadour of “Down By Law." In fact, “Only Lovers Left Alive,” Jarmusch’s take on the vampire myth starring recent muse Tilda Swinton and Tom “fast becoming everyone’s favorite actor” Hiddleston, finds the maverick filmmaker on playful, referential and mischievous form with hugely enjoyable, if not exactly weighty or important, results.
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We still on this? lmao. Mark Waid. I love the dude but he's incorrect. To everyone still
It's the second time you guys do this, Alberto Iglesias is not the composer on the movie,
same, I enjoyed this very much, classic Miike. I think Hideaki Ito did very well in this movie. Art
@PCHONGOR: if by "faux Panavasion" you mean "anamorphic", no. Wall-E quite
Critics know fuck all about the medium. Drew McWeeny once blamed the poor sound in his Hobbit
This is the most condescending piece of writing I've read in years. Dave and Glass have
I liked the solid script, the solid performances, the well motivated villan, but barely made it
With the possible exception of Mulan, none of Disney's princess movies are feminist or
it's as good a day as any to find something to bitch about.
1. Feels way too much like one long Lego commercial, but "21 Jumpstreet" was awesome, so