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Only Lovers Left Alive

Romance . Horror . Drama

After being around for centuries and now living in the modern age, vampire Adam is a rockstar that cannot grow accustomed to the new modern world with all of its new technology. While he lives in Detroit, his wife Eve lives in Tangier, flourishing in the new world. But when she senses Adam's depression with society, she gets on a plane and goes to see him. Shortly after Eve gets there, her little sister, Ava, shows up after 87 years and disrupts the couple's idyll reunion.

Actors: Ali Amine , Cody Stauber , Jeffrey Wright , Slimane Dazi , Anton Yelchin , John Hurt , Mia Wasikowska , Tilda Swinton , Tom Hiddleston
Directors: Jim Jarmusch
Release: 2013-12-25
More Info:
  • Keith Uhlich

    If Jim Jarmusch’s languorous, laconic style isn’t your bag, his stone-faced vampire comedy won’t make you a believer. Those who’ve already been bitten, however, will swoon like the film’s toothy leads whenever their lips touch neck juice.

    Time Out New York Full Review
  • Stephanie Zacharek

    Only Lovers Left Alive is silly and deeply serious at once, an elegy with a light touch and more than a dash of hope.

    Village Voice Full Review
  • Todd McCarthy

    Only Lovers Left Alive is an addictive mood and tone piece, a nocturnal reverie that incidentally celebrates a marriage that has lasted untold centuries.

    The Hollywood Reporter Full Review
  • Jordan Hoffman

    Only Lovers Left Alive is an exhibit A example of how to use style to enhance substance, not overwhelm it. Full Review
  • A.A. Dowd

    In many respects, Adam and Eve are nocturnal cousins to the angels from Wim Wenders’ "Wings Of Desire": They’re secret observers of history, living records of the past with little control over the future. But Jarmusch has no interest in the kind of guilt and grief Wenders wove through his movie; Only Lovers comes in a hipper, sexier shade of melancholy.

    The A.V. Club Full Review
  • Eric Kohn

    If you can groove with Jarmusch's patient, philosophical indulgences and the wooden exteriors of his characters' lives, the movie rewards with a savvy emotional payoff about moving forward even when the motivation to do so has gone.

    indieWIRE Full Review
  • Sharan Shetty

    Rarely has Jarmusch’s style been so inherently suited to his content. Stillness and silence, the cardinal virtues of his method, have never been so pertinent as in the lives of the undead.

    Slate Full Review
  • David Edelstein

    Do I detect a note of self-satire in Jarmusch’s undead? I’d like to think he’s poking fun at his own stylized, white-boy cool. But underneath, of course, he’s deadly serious. A ruined metropolis, a snatch of dialogue about coming water wars, a poisoned blood supply: The garden of Adam and Eve is despoiled beyond remedy. This is a charming dirge, though.

    New York Magazine (Vulture) Full Review
  • Scott Tobias

    Only Lovers Left Alive accomplishes the neat trick of reinventing a moribund genre as a distinctly Jarmuschian hangout movie.

    The Dissolve Full Review
  • Marjorie Baumgarten

    The film is hypnotic, which lends it an addictive sensibility that complements the need Adam and Eve have for their bloody fixes.

    Austin Chronicle Full Review
  • Rene Rodriguez

    The casting of Hiddleston and Swinton was a stroke of genius: They emanate a particular sort of cool only they seem privy to, accentuating their alienation.

    Miami Herald Full Review
  • Calvin Wilson

    An enthralling lament for an era in which beauty is in danger of becoming extinct.

    St. Louis Post-Dispatch Full Review
  • Steven Rea

    This story of two very old souls who suck on O negative Popsicles is, in many ways, more about the life-sustaining force of music than any hankering for blood.

    Philadelphia Inquirer Full Review
  • Liam Lacey

    Only Lovers is so fluidly edited and thinly plotted that it feels almost off-hand; yet, it’s also made with great care, beautifully lit and set-designed to an eyelash.

    The Globe and Mail (Toronto) Full Review
  • Calum Marsh

    As is so often the case in Jim Jarmusch's films, simply spending time in the company of his creations proves engrossing.

    Slant Magazine Full Review
  • Marc Mohan

    Plot takes a back seat to style and attitude, as it often does in Jarmuch's world, which can make the last half-hour of the movie drag a bit. But when that means getting to hang out with two fascinating creatures of the night, played by two fascinating performers, that's a perfectly valid trade-off.

    Portland Oregonian Full Review
  • Jessica Kiang

    It’s an offbeat, fun, and frequently very funny film, lifted out of disposability by some wonderfully rich production design, music cuts and photography, and by the cherishable performances of the leads.

    The Playlist Full Review
  • Bill Goodykoontz

    This is a film that finds horror not in the extreme, but in the mundane. That alone makes it a worthwhile entry in a genre that it both inhabits and rises above.

    Arizona Republic Full Review
  • Elizabeth Weitzman

    This is a movie about the transcendent bond between partners who can communicate without speaking a word, so it’s only fitting that the gorgeous cinematography perfectly captures the movie’s emotional depths.

    New York Daily News Full Review
  • Sheri Linden

    The unhurried film is a beauty. Shooting digitally — a first for Jarmusch and a paradox for a movie that so ardently celebrates the artisanal — cinematographer Yorick Le Saux uses nocturnal lighting to eloquent effect. The titular lovers are beauties too, soulful and captivating. Swinton and Hiddleston make their love story one for the ages.

    Los Angeles Times Full Review
  • Joe Morgenstern

    You don't have to be a fan of Mr. Jarmusch's special brand of indie spookiness to enjoy his new film. All that's required is patience with its languorous pace, plus a willingness to swing between amusement and delight, with periodic pauses at ennui.

    Wall Street Journal Full Review
  • Kevin Harley

    A loving, very funny valentine to undead pleasures, with Swinton and Hiddleston on top form.

    Total Film Full Review
  • Ian Nathan

    Haunting and idiosyncratic, Jarmusch’s vampire marriage preaches to the converted, but he’s in fine voice nonetheless.

    Empire Full Review
  • Robbie Collin

    The real reason to see this is Swinton and Hiddleston’s sexy, pallid double act: two old souls in hot bodies who have long tired of this Earth, but have nowhere else to make their home.

    The Telegraph Full Review
  • Peter Bradshaw

    If it is an exercise in style … well, what style. With its retro-chic connoisseurship and analogue era rock, this is a brilliant haute-hippy homage.

    The Guardian Full Review
  • Roger Moore

    The lack of urgency may bore those unused to Jarmusch’s style and pacing. But his languor is his calling card. The deliberate pacing makes the offhand jokes and dry observations seem funnier than they are, at least in this case. This borders on being “cute.” And dull.

    McClatchy-Tribune News Service Full Review
  • Ty Burr

    Disarmingly direct and charmingly directed; it’s a bona fide love story, if an exhausted and occasionally thin one.

    Boston Globe Full Review
  • Bill Stamets

    Jim Jarmusch stocks his latest low-key indie with more than his usual characters in low-velocity drift. The Akron-born auteur infuses the title couple of Only Lovers Left Alive with his taste for culture, if not cuisine.

    Chicago Sun-Times Full Review
  • Peter Rainer

    Jim Jarmusch has made a vampire movie, but, as you might expect, not just any old vampire movie. “Twilight” fans will not be amused, but Jarmusch’s usual coterie of art-film followers will likely find the movie his best in years.

    Christian Science Monitor Full Review
  • Susan Wloszczyna

    Like most of Jarmusch’s films, the emphasis is not on action but interaction—especially the verbal kind. And atmosphere. Full Review
  • Peter Travers

    Jarmusch, as ever, has the power to sneak up on you. He's a spellbinder. The same goes for his movie.

    Rolling Stone Full Review
  • Claudia Puig

    For those who puzzled over the "Twilight" hoopla here are Adam and Eve, the artiest, most sophisticated pair of vampires to hit screens in a long time.

    USA Today Full Review
  • Lou Lumenick

    Legendary hipster filmmaker Jim Jarmusch’s wryly funny exercise in genre bending hits so many grace notes it ends up being his most satisfying film in years.

    New York Post Full Review
  • Rex Reed

    It’s so elegant and dreamlike — such a departure from most vampire epics — that you won’t be bored. It also has a wicked sense of humor you usually don’t find in the genre.

    New York Observer Full Review
  • Chris Nashawaty

    It's always a thrill to see what an artist as singular as Jarmusch will do next. I just wish that his foray into the world of the undead had a little more to sink its beautiful fangs into.

    Entertainment Weekly Full Review
  • Andrew O'Hehir

    It’s shot through with sadness and beauty, with dry humor, with the certainty that even things meant to last forever actually don’t. Full Review
  • A.O. Scott

    In many ways, Only Lovers Left Alive is among Mr. Jarmusch’s most voluptuous movies — full of rare and gorgeous images and sounds, heavy with wistful sighs and sprinkled with wry, knowing jokes — but it is also thin and pale, and perhaps too afraid of daylight for its own good.

    The New York Times Full Review
  • Dave Calhoun

    Only Lovers Left Alive drags its feet and shows serious signs of anaemia as a story.

    Time Out London Full Review
  • Leslie Felperin

    A sweet but slight love story about world-weary hipster bloodsuckers.

    Variety Full Review
  • Mick LaSalle

    Only Lovers Left Alive is simply dead, an exercise in style, bland humor and vague gesture that yet seems to have been made in the naive expectation of a conventional response - that is, of an audience's actually caring.

    San Francisco Chronicle Full Review
  • Anthony Lane

    Here is the territory that "Twilight" never dared to enter. It was so busy with crushes, covens, werewolves, and all the other moth-eaten trappings of the genre that it forgot to ask, Why do vampires not die of boredom? Is time not the sharpest stake in the heart? [14 April 2014, p.86]

    The New Yorker Full Review
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