Humprt Pum

Příjemný pokoukání.

Diletantismus už podle prvních několika málo záběrů.

Škoda, že se film ke konci stal konejšivou kaší.

Chi chi cha cha.

Monstr sračka. Tak to dopadne, když si někdo myslí, že dá dohromady pouštní prach, pár motorek, ostrý xichty, hudbu s šedesátkosedmdesátkovejma slajdovanejma kytarama, a bude z něj automaticky Tarrantino.

Bída film. Ale ta muzika...

Ani její tělo nic nezmohlo.

Totální vizuální orgie. Sen uprostřed reality. Realita uprostřed snu. Svět se bude točit dál nezávisle na nás všech. Místo abychom nastoupili a nechali se vézt, snažíme se zabývat vším, jen ne jízdou samotnou. Jarmusch má oči snad i na chodidlech. Prostřednictvím zraku vraha nás nechává nazřít do jeho intimního světa barev a úhlů. Ztotožňuji se s kritikou Los Angeles Times: http://articles.latimes.com/2009/may/01/entertainment/et-limits1 "Jarmusch has said he was inspired by a trifecta of a William Burroughs essay, from which the film's title and its theme of words as the ultimate source of control and power are drawn; French crime dramas of the '70s and '80s; and John Boorman's thriller "Point Blank." All that would put you in mind of a noir experience, where the action is tense and philosophy is left for another day. That is not what Jarmusch has given us. Instead the film is like a series of sun-saturated French impressionist paintings, so beautifully is it shot by cinematographer Christopher Doyle and so soft-focus is its narrative. Each character enters and defines the space and the story in his or her own way, loosely linked moments with De Bankolé's mission providing the connective tissue, a classic Jarmusch approach. It is an exceedingly fine supporting cast led by John Hurt as Guitar, a Tennessee Williams sort of genteel philosopher; Gael García Bernal as the roughed up cowboy, Mexican; and Tilda Swinton as the trench-coat clad film star Blonde. Bill Murray, who was the spine of the writer-director's last film, 2005's "Brok- en Flowers," is just a quick stroke cameo here as American, though Ugly American would have been a better sobriquetAs with all Jarmusch films, there is much unexplained, the ambiguities left to reside in long stretches of silence. All of which makes "The Limits of Control" a little like guided meditation with suggestions floated, waiting, left untethered. It's up to you to distill meaning -- which will leave some convinced the director is merely self-indulgent, and others deeply satisfied. I fall into the deeply satisfied camp with what may well be Jarmusch's most enigmatic film yet. In the opening scene when De Bankolé meets his first contact, he is told, "Use your imagination," which turns out to be sage advice for us as well."

Úžas. Je málo filmů, které jsou s každou minutou lepší a lepší, až na konec se závěrečnýma titulkama dokonale expplodují.

Cool!