Mary Poppins Returns
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All Critics (23)
| Top Critics (6)
| Fresh (17)
| Rotten (6)
| DVD (4)
Though it may take a while to get Jarmusch's gist, hang in there; by the time Tom Waits growls his lovely closing waltz over the credits, Jarmusch has shown us moments most filmmakers don't even notice.
With this, his fourth commercially released feature, Mr. Jarmusch again demonstrates his mastery of comedy of the oblique.
"Night on Earth" sounds better than it turns out to be.
Unfortunately, Jarmusch's lackadaisical minimalist aesthetic and his chronic lack of energy are the only unifying elements.
At the end, we have learned no great lessons and arrived at no thrilling conclusions, but we have shared the community of the night, when people are unbuttoned and vulnerable - more ready to speak about what's really on their minds.
Night on Earth dawdles a bit, and a couple of the segments, notably the one in Helsinki, feel like half-baked epiphanies. Throughout, though, there are moments that catch you delightfully off guard.
Funny, penetrating, zany and sad film.
Throughout, Jim Jarmusch playfully blurs the line between driver/passenger, servant/customer, and native/immigrant.
Takes us to places most other filmmakers never do.
Jarmusch's most accessible exercise to date while also his least seen
Revisiting his interest in oblique comedy, Jarmusch explores a primal relationship, that of a passenger and taxi driver, using the cab as a temporary shared world, from which one party may emerge shaken up or feeling differently about himself/herself
Almost good, but not quite there.
I may be over inflating the rating by just a bit (maybe a half-star too many), but this movie, or better yet, collection of five related vignettes really got to be on a deep level. This ended up being the perfect movie for a stay at home dinner/movie date. The connection between the five stories is that they all take place on the same night in five different cities around the world, and each story looks at the interaction between a cabbie and their passenger(s). In the end, this becomes a connection of character studies, of life itself, and how it seems that only at night are people truly open with their words and feelings. It's quirky, funny (at times down right hilarious), and ultimately moving and heartfelt. Check this one out. Unlike Rachel Getting Married (among others), this is an indie film that doesn't suck.
With this collection of shorts Jarmusch still has done no wrong. I especially love the first sequence with Gena Rowlands and Winona Ryder as well as the sequence with Giancarlo Esposito and Rosie Perez.
I so don't believe Winona Ryder as a cab driver but I think that's the point.
Very funny and even touching at times. An odd cult film made in the way only Jarmusch can. Worth it for Benigni's segment alone.
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