Stars for Robby Müller's really extraordinary cinematography and some pretty intoxicating sound design. Charm's worn off, though, on the self-satisfied posturing. And there's just not much left to it after that...
Call it growth, I suppose—I found this movie insufferable (but interesting) when I first saw it in college. 6 years later, it looks like a magnificent, wily mash-up, and I'm hard-pressed to name a better cinematic fable about the promise of America and how to attain it. I still think Jarmusch takes too long to get to where he's going, but he arrives in such a beautiful place that I've been on a high ever since.
"I screm-a, you scream-a, we all scream-a for ice cream-a!" Jim Jarmusch's movies are cooler than cool. The beautiful black and white cinematography, the kickass soundtrack, and the sizzling performances are just an overload of greatness. One of his best right here.
This film was captivating from beginning to end -- really one of the best treatments of the B&W medium I've come across. I just sat there in awe of the camera work & light. Perfect contrast. Poignant/effective dialogue. Love the sets -- art direction was perfect. Jarmusch really puts an excellent cast together. Loved this.
This film is long in the beginning, long in the middle, and long in the end. I loved every minute of it. My face was hurting by the end from smiling so much, which has only happened to me (I think) while watching Chungking Express and Punch-Drunk Love. I am very pleased to have had the opportunity to see it, and on a 35mm projection.
After not seeing Down By Law for years, I almost forgot how great it was. The way Tom Waits and John Lurie play off each other only to have Roberto Begnini added into the mix is not only great casting but great chemistry also. The low-key and minimal story along with the quiet bombardment of beautiful photography and direction leave quite possibly the coolest pile of grime I've ever seen.