Paterson; or, Life in the Woods; or, Bad Luck Fetty Wap!
Paterson , Jim Jarmusch's new movie after Only Lovers Left Alive, about a bus-driving poet in New Jersey, would seem to bear few similarities with its predecessor. Only Lovers Left Alive told a story of two vampires, lovers, who are at odds with the 21st century and spend their days reliving their memories. But Paterson is in fact as much of a fantasy as Only Lovers Left Alive , rehashing that film's themes of disconnection from the modern world and fetishisation of the past, and it fails on exactly the same artistic grounds, being mannered, fusty, self-regarding in tone, hollow in its intellectual proposition, and politically vacant or regressive. If you're paying attention you should have noticed one of the film's big themes before it's pointed out to you - but for the slower viewer, Jarmusch has it underlined in a moment of conversation at the old-timey, TV-free neighbourhood bar that Paterson (Adam Driver) frequents. Namely: Paterson is completely analogue ...