The Limits of Control

The Limits of Control

As many successful American filmmakers who get their start in independent filmmaking quickly find themselves comfortable in Hollywood studios, Jim Jarmusch feels like the anachronism that the economics of filmmaking rarely find room for but the culture of cinema certainly needs. After making the No Wave-era Permanent Vacation on the seemingly post-apocalyptic landscape of a crumbling late-70s New York, Jarmusch made waves at the then-young Sundance film festival with Stranger Than Paradise, a bare bones indie that exhibited the director’s penchant for deliberate pacing, wry humor, an insistent soundtrack and a canted examination of Americana. Jarmusch’s productions are few and far between, partly due to the fact that he is ever in want of funding and seeks final cut on all his films. The process may be difficult, but it’s worth it: thirty years after Paradise, Jarmusch crafted Only Lovers Left Alive (recently released on disc and digital), a film that surprised me as both a sideways look at high-cult consumption and one of the most genuinely romantic films of this year. It is, in short, well worth the seven years of frustration that it took to get the film made and into theaters. It’s hard to imagine the same film coming from a filmmaker willing to touch studio funding. And it’s an intoxicating glimpse of what could be if more independent filmmakers were as unimpressed by studio dollars as Jarmusch. So here’s a bit of free film school (for fans and filmmakers alike) from a Son of Lee Marvin.

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It’s not his birthday, he didn’t die (at least not when this was written), and he doesn’t have a new movie out, but gosh darn it – let’s talk Bill Murray. He is, as we all know, the best person. Today I wanted to try and find some more roles in the vein of The Razor’s Edge; just some odd, maybe funny/maybe not characters he’s played over the years that we all may have missed out on. My goal here: to give you, at the very least, one Bill Murray role you didn’t know about, but would now really like to watch. Here we go…

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This week’s Culture Warrior says that cinema is the ultimate form of art. And it has nothing to do with ‘Avatar.’ Seriously, it doesn’t.

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Rob Hunter loves movies. He also loves his job as a CPA who occasionally finds a little mystery thrown his way. These two joys come together in the form of cash money payments that he receives every week and immediately uses to buy more DVDs. This week includes Star Trek, Vampire Party, Taintlight, and more!

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Landon takes a look at Jim Jarmusch’s new film and other meaningless movies that are meaningless.

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To paraphrase my third favorite dead playwright, The Limits Of Control is a tale told by an idiot, full of pubic mound and Murray, signifying nothing.

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Since I quit sniffing baboon blood to get high, the only thing I have left that’s on par is this new trailer for Jim Jarmusch’s The Limits of Control. It seems fairly par for the course considering the filmmaker’s track record.

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Cannes is just a few months away, and since we’re tired of caring about the Oscars, The Hollywood Reporter has released a list of possibles that’s too good not to dissect.

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