Starring Tilda Swinton and Tom Hiddlestone, 'Only Lovers Left Alive' is out now.
Only Lovers Left Alive is released in cinemas today, bringing Jim Jarmusch's supernatural romance to theatres. The movie's main draw is of course its two British leads: Tilda Swinton and Thor's Tom HIddlestone play the alluring onscreen vampire couple Adam and Eve, who are trying to find their way in the modern world.
Tilda Swinton & Tom Hiddlestone Cut A Deathly Cool Couple In 'Only Lovers Left Alive.'
Described as a "crypto-vampire love story" by the director, Only Lovers Left Alive brings to life a fantastical yet gritty imagining of a modern day vampire tale. You'd have thought that by now, our desire for vampire romance movies would be well and truly sated, particularly after the five Twilight movies.
It's hardly surprising that laconic filmmaker Jim Jarmusch (Broken Flowers) has created such an inventively offbeat vampire movie, helped hugely by the ace casting of Tilda Swinton and Tom Hiddleston as extremely long-term lovers. Fans of the genre might find the movie a bit slow and relaxed, but sharp humour and especially strong characters make it unmissable.
In a run-down house in Detroit, centuries-old Adam (Hiddleston) is living in squalor while anonymously creating club music with the assistance of Ian (Yelchin), who finds things like antique guitars for him to play. He gets his supply of clean O-negative blood from a helpful doctor (Wright). Meanwhile in Tangiers, Adam's wife Eve (Swinton) relies on her old pal Marlowe (Hurt) for the blood she sips at sunrise like a cocktail before lapsing into a deep sleep. Bored, Eve decides to visit Adam, so books nighttime flights and arrives to a blissful reunion. But their solace is interrupted when her wild-child sister Eva (Wasikowska) turns up.
These may be creatures of the night, but over thousands of years they have discovered exactly what kind of art soothes their souls. And Eva's boisterous presence disrupts their languorous peace even more than the fact that the blood supply is becoming increasingly contaminated. Adam and Eve call humans "zombies" dismissively and joke about their influence on key events and inventions throughout history. Hiddleston and Swinton are utterly perfect for these roles, bringing out details that are hilarious as well as emotionally moving. They also let us see the years of boredom mixed with a glimmer of childish curiosity that would be required to survive for so long.
Continue reading: Only Lovers Left Alive Review
Watch the stunning trailer for Jim Jarmusch's achingly cool 'Only Lovers Left Alive.'
You'd think we'd have had our fill of vampire romances by now, but new movie Only Lovers Left Alive is set to show us that there's still fresh blood to shake from the undead fantasy genre. It helps that Jim Jarmusch's soon-to-be-released film boasts the hair-raisingly talented lead duo of Tilda Swinton and Thor's Tom Hiddlestone, who play a pair of trendy vampire lovers trying to find their fill of blood whilst keeping a low profile.
Tilda Swinton & Tom Hiddlestone Strike A Deathly Pose In The New Vampire Romance.
Swinton and Hiddlestone are moulded into the deathly cool couple Adam and Eve. After being around for centuries, Adam, a rock star with a penchant for vintage guitars, is finding it difficult to get his head around the modern world with all of its technology. His need for reclusiveness is threatened by the people drawn to his air of mystery and the music he makes.
An ancient vampire named Adam is desperate to remain hidden from the world in his Detroit home. But that's harder than it looks as people are becoming increasingly interested in the music he makes and his mysterious ways. However, it seems music is not his only passion when his old lover Eve makes her way over to his home to rekindle their long lost feelings for each other. Enamoured at the sight of each other, it isn't long before all their attentions are focused on each other, but things aren't as easy as they should be when Eve's perpetually irritating little sister Ava shows up to see them and proceeds to test Adam and Eve's relationship to the limits as Adam struggles to contain his frustration at having her around. The pair have more to worry about, however, such as how they are going to survive in a quickly decaying world.
'Only Lovers Left Alive' is a hearty vampire flick written and directed by Jim Jarmusch ('Ghost Dog: The Way of the Samurai', 'Broken Flowers', 'Dead Man'). What makes it different to vamp films of recent times, however, is that the characters' monstrous natures take a bit of a back seat as romance and drama become the movie's main themes. It is due for release in the UK on February 21st 2014.
A lone man (De Bankole) is on a mysterious mission, flying into Madrid then travelling to Seville and Alicante. Along the way, he has a series of clandestine meetings with a nervous violinist (Tosar), an enigmatic blonde (Swinton), a naked seductress (de la Huerta), a British guitarist (Hurt), an edgy Mexican (Garcia Bernal), a silent driver (Abbas) and an arrogant American (Murray). But he's all business, never distracted from his assignment and quietly hearing the philosophy that seems to swirl around his every move.
Continue reading: The Limits Of Control Review
The Limits of Control, the 11th feature by the New York-born auteur Jim Jarmusch, is another work that is inarguably stamped by its director's idiosyncrasies and, like Volver, there have been several critics who have questioned if its artistic success is not so much a result of it being a Jarmusch film rather than simply a good film. It emits a dark-shade cool, as befits any Jarmusch joint, and it features several of the director's usual performers, including the Ivorian-born actor Isaach De Bankolé in the lead.
Continue reading: The Limits Of Control Review
Throughout the course of one night, we are driven around in five separate taxi cabs that range from familiar ports of L.A. and New York City to the echoing streets of Paris and Rome to the final ride through the frozen-over metropolis of Helsinki, right as the sun is rising. In Los Angeles, a big-time agent (Gena Rowlands) tries to seduce her rough-and-tumble cab driver (an insolent Winona Ryder) into becoming an actress. While in New York, a jerky Brooklynite (the superb Giancarlo Esposito) teaches his German cab driver (Armin Mueller-Stahl) how to drive, talk, and jive correctly while also trying to escort his sister-in-law (Rosie Perez) home.
Continue reading: Night On Earth Review
A child of British diplomats who was always keenly embarrassed of his public school education and refers to himself as "a mouthy little git," Strummer was squatting in London with gypsies in the mid-1970s, busking for food money, playing in a pub band called the 101ers, and generally charming the pants off of everyone he met. It was a hand-to-mouth existence, but seemed like the kind of thing Strummer could do for years, living his beloved lowlife. Then he was being introduced to a trio of short-haired punks, The Clash was formed, and Strummer was on his way to rock stardom. He wasn't a singer, he was a yelper (as some fantastic footage of him laying down the vocal track for "White Riot" shows particularly well), a snaggletoothed smoker with a penchant for nonsensical lyrics and overblown statements. But in Strummer's work, with The Clash and afterwards, there always rang true a tone of absolute and unmistakable sincerity, sung and played with complete conviction each and every time. This was a man without irony, leading a band that set the model for all the conscious groups which would follow (tellingly, Bono is one of the interviewees here, talking about The Clash being his first concert, and in short the reason he got into music).
Continue reading: Joe Strummer: The Future Is Unwritten Review
At once artless and artful, dramatically unfocused yet layered throughout with unmistakable observations about mid-'80s American melancholia, Stranger Than Paradise displays all the strengths and weaknesses of Jarmusch's brand of cinema. While experiencing his stories, the viewer may suspect that, beneath the patina of captivating movie moments, the director has nothing particularly to say about, well, anything, but is simply creating images because he feels like it, and stringing them together with vintage jazz, rock, and world music selections. Just short of expressing any sense of purpose or point of view, at least conventionally speaking, a Jarmusch movie will peter out. The characters do not advance much, though each will have embarked on journeys, and shared moments of wry hilarity. But, spiritually, they remain near or exactly where they began.
Continue reading: Stranger Than Paradise Review
The catch: Cassel's only doing it on a bet that he can turn any old jerk into the toast of the Cannes film festival.
Continue reading: Cannes Man Review
And then its programming chief killed his wife and himself.
Continue reading: Z Channel: A Magnificent Obsession Review