The Limits of Control Critic Reviews

Metascore®:

41 =
Based upon 14 Critic Reviews
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Los Angeles Times | Betsy SharkeyAdd Critic to Favorites

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.Read the full review

The New York Times | Manohla DargisAdd Critic to Favorites

A nondramatic work best appreciated as a pure image-and-sound event.Read the full review

The Onion (A.V. Club) | Scott TobiasAdd Critic to Favorites

Too much of The Limits Of Control feels canned and airless, so stifled by Jarmusch's obsessions that it loses all sense of surprise.Read the full review

Rolling Stone | Peter TraversAdd Critic to Favorites

Even the great ones hit snags. With The Limits of Control, Jim Jarmsuch gets tangled up in his own deadpan.Read the full review

ReelViews | James BerardinelliAdd Critic to Favorites

While The Limits of Control offers some picturesque photography and grist for thought, it is ultimately too much like The Emperor's New Clothes to warrant anything approaching enthusiasm. The message is banal and the means by which it is presented reeks of artifice and pretention.Read the full review

The Hollywood Reporter | Michael RechtshaffenAdd Critic to Favorites

Unfortunately, the whole seldom adds up to the sum of its illustrious parts, and Jarmusch's trademark deadpan quirks seem to have gotten lost in the translation.Read the full review

Entertainment Weekly | Owen GleibermanAdd Critic to Favorites

The Limits of Control, even with its flow of star cameos (Tilda Swinton, Gael GarcĂ­a Bernal, a frenetic Bill Murray), is a listless long pause that rarely refreshes.Read the full review

Variety | Todd McCarthyAdd Critic to Favorites

Worst of all, it just feels tired and recycled.Read the full review

Boston Globe | Ty BurrAdd Critic to Favorites

Jarmusch has come up with a dud.Read the full review

USA Today | Claudia PuigAdd Critic to Favorites

It might be that Jarmusch (Broken Flowers) is experimenting with creating a pastiche of dreamlike sequences that audiences can interpret as they wish. Or it may be merely pretension and hubris that fuels such a stylized and insubstantial story.Read the full review

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