Its characters are as entertainingly quirky as any he's given us before, and his familiar themes -- strangers in a strange land, lives reformed by chance encounters -- are played out with much higher stakes and with greater purpose.Read Full Review »
90
NewsWeek: David Ansen
The mordant, deadpan humor that streaks through Dead Man is echt Jarmusch, but it's in the service of his most mysterious and deeply felt movie, a meditation on death and transfiguration that, by the end, has thrown off the protective veil of irony. [03 Jun 1996, Pg.75]Read Full Review »
63
ReelViews: James Berardinelli
Filmed in black-and-white with an eerie score by Neil Young, and using contemporary dialogue and mannerisms, Jarmusch's picture has a dream-like quality.Read Full Review »
50
The New York Times: Stephen Holden
The film's energy begins to flag after less than an hour, and as its pulse slackens it turns into a quirky allegory, punctuated with brilliant visionary flashes that partially redeem a philosophic ham-handedness.Read Full Review »
42
ENTERTAINMENT WEEKLY: Owen Gleiberman
The film has barely started, and already we can tell what we're in for -- two hours of metaphysical drift.Read Full Review »
40
Washington Post: Desson Thomson
After a promising beginning and an amusing middle, the movie gets stuck in limbo.Read Full Review »
Coy to a fault, the movie collapses under its own weight with 90 minutes to go, despite Robby Muller's impressive black-and-white photography, which puts the film on a higher artistic plane than other equally unbearable movies. [16 May 1996, Pg.06.D]Read Full Review »
38
CHICAGO SUN-TIMES: Roger Ebert
Dead Man is a strange, slow, unrewarding movie that provides us with more time to think about its meaning than with meaning.Read Full Review »
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