This list is by no means definitive or personal, just an import from the MUBI list here.
I'm not entirely…
A mysterious stranger works outside the law and keeps his objectives hidden, trusting no one. While his demeanor is paradoxically focused and dreamlike all at once, he embarks on a journey that not only takes him across Spain, but also through his own consciousness.
"Reality is arbitrary" we hear our nameless, personality-less, voiceless, lead told at one point in the two hours of banal sleep-inducing wank. Utter drowsiness, however, as we see, is not.
What is the The Limits of Control? Well, it's mumbling and wandering in the form of watching paint dry. It causes one to think back to high school biology class to come with that scientific phrase, ah yes, photosynthesis in real time. The fact that it makes one want to think about simple biological terms to describe the dour experience while watching it says enough about it.
Jim Jarmusch, instead of making a film, decided to shoot some walking, stretching, vague encoded message exchanging, and coffee drinking set to some…
Something must be wrong with me.
The Limits of Control was a film people warned me about. They told me that it was a bad movie; an awful film, so pretentious and boring. Ordinarily I wouldn't have checked it out. But it was the only remaining film left unseen by me from one of my favourite directors, Jim Jarmusch. So I had to give it a look.
And quite simply, it blew me away. Disagree you are free to do, but I thought this movie was spectacular. There's not much of a plot, but the enigmatic dialogue and eerie atmosphere of the film makes it constantly gripping, as does phenomenal cinematography and a superb leading performance from Isaach De Bankole.…
“among us, there are those who are not among us.”
some errant thoughts:
- Tilda Swinton is a stone cold fox in this one. not earthy or primal or whatever elemental adjectives are typically used to describe her.
- you will never anything as much as Paz de la Huerta hates clothes.
- wish Jarmusch hadn't been so quick to splice during the last shot when Christopher Doyle drops the camera to his shoulder.
- is THE COUNSELOR the LIMITS OF CONTROL of 2013?
- aesthetics aside (not a small thing), there isn't a single idea here that Jarmusch doesn't manage to capture in a more cogent and compelling fashion with ONLY LOVERS LEFT ALIVE. be that as it may, i think this was a necessary step for him to take, nudging his filmmaking from the spectral to the molecular.
- there's a really great Jarmusch interview by Gavin Smith around this movie, essential reading.
"In the near future, worn out things will be made new again by reconfiguring their molecules."
somewhere in the middle of this our protagonist sits down to watch a flamenco rehearsal, and the lyrics of the song he hears repeat a phrase that nearly every single other character has said to him, sort of the movie's mantra about life being "a handful of dirt". it's the one moment in the film where his hilariously stoic expression changes, and he cracks the tiniest of smiles. something repeated over and over suddenly takes on some tiny new connotation because of a slight tweak in context.
Jarmusch has made a career out of these episodic travelogues, those episodes often containing a conversation between…
"How the fuck did you get in here?"
"I used my imagination."
This is the type of film I could watch one day and hate and the next day love. I watched it on a good day. Isaach de Bankolé is one badass motherfucker.
This film is a tough one for me to get on board with. At around 2 hours long, there is less than 10 pages of script total. But the film isn't minimalist, it's just quiet. It is nearly non-narrative. If I was to describe a plot, I'd say a man takes meetings with different people, exchanges matchbooks with them, and drinks espressoes. That's about it. What makes this film notable is the beautiful landscapes and settings that are filmed. The performances are all good, but they nearly stand apart as separate vinuettes instead of parts of a whole. I thought the music was great, and I can see how this film would lead to the wonderful ONLY LOVERS LEFT ALIVE. There, if I type anymore, I'll have said more than the film.
"The best films are like dreams you're never really sure you had."
Cinematic genius or pretentious navel gazing - hard to be sure.
I'd say - full marks for form, substance maybe not so much, unless form is substance then full marks all round.
"He who thinks he is bigger than the rest must go to the cemetery. There he will see what the world really is. It's a handful of dirt."
"Fucking bohemians on hallucinogenic drugs."
Throughout this whole film I was thinking ‘how in the hell is shot after shot after shot composed so damn well; how is the colour in shot after shot after shot so damn exquisite.’ Then I saw the end credits list Christopher Doyle as the DP. ‘Oh, okay, that makes sense, nevermind.’
There is one scene in this movie that perfectures its essence - the one where main character watches the picture of white sheet. This painting is the movie - nothing in it, nothing outside of it. But beautiful.
Somehow Jarmusch managed to throw everything in garbage with this one. It is such a fake and pretentious movie (something what I could never say about his early works) with its pseudo deepnes being the only thing it has.
Whole movie is literaly two hours of simple and laughable first year of film school symbolism. It's like Jim watched some of Bergman's and Tarkovsky's movies before filming this one and decided "Yeah, I totally want to make something like that!". I can…
This film is so patient and abstruse that when the central hitman finally comes face-to-face with his target the ensuing physical struggle disrupts the heretofore super-cool mood. Otherwise, and predominantly, this is a film about a man who speaks very little and travels to Spain and orders coffee. Then Tilda Swinton shows up in a cowboy hat or Paz de la Huerta in the nude. Then he gets on a train or in a cab and goes somewhere else and orders the very same coffee. Jarmusch is best when he's depicting characters who are alternately stir-crazy or lost, and a bit out of his realm of comfort when he's riffing on genre—that said, this is very much in the vein…
NO LIMITS NO CONTROL
Increíblemente filmada. Sorprendentemente hueca.
This film doesn't get the credit for being the revisionist spy film it deserves. As an exercise, I imagined that Isaach De Bankole's lead character was the French equivalent of James Bond. Only, instead of seeing all the big gunfights and random hookups, we see our super-spy drinking espressos, waiting for his contacts and practicing Tai Chi. I do understand those who find the film boring, but to me, it's a beautifully filmed, meditative and subversive look at the classic spy movie.
The story of a mysterious loner, a stranger in the process of completing a criminal job.
Slo-mo faux Noir with depth and meaning dripping from every scene.
Whole thing felt like a parody. Apparently, there are movies not even Bill Murray can save.
A list with film titles that could easily have been titles of porn movies.
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The 2015 edition of the They Shoot Pictures, Don't They? 21st Century's Most Acclaimed Films list.
Incomplete data forced the…