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The Limits of Control


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Editorial Reviews

Acclaimed filmmaker Jim Jarmusch delivers a stylish and sexy new thriller about a mysterious loner (De Bankolé) who arrives in Spain with instructions to meet various strangers, each one a part of his dangerous mission. Featuring an all-star international cast that includes Isaach De Bankolé, Gael García Bernal, John Hurt, Tilda Swinton and Bill Murray, it’s a stunning journey in an exotic Spanish landscape that simmers with heat and suspense.

Special Features

  • Behind Jim Jarmusch - Part 1
  • Behind Jim Jarmusch - Part 2
  • Untitled Landscapes

  • Product Details

    • Actors: Isaach De Bankole, Alex Descas, Jean-Francois Stevenin, Oscar Jaenada, Luis Tosar
    • Directors: Jim Jarmusch
    • Writers: Jim Jarmusch
    • Producers: Stacey Smith, Gretchen McGowan
    • Format: Multiple Formats, AC-3, Color, Dolby, NTSC, Subtitled, Widescreen
    • Language: English (Dolby Digital 5.1)
    • Subtitles: French, Spanish
    • Subtitles for the Hearing Impaired: English
    • Region: Region 1 (U.S. and Canada only. Read more about DVD formats.)
    • Aspect Ratio: 1.85:1
    • Number of discs: 1
    • Rated: R (Restricted)
    • Studio: Focus Features
    • DVD Release Date: November 17, 2009
    • Run Time: 116 minutes
    • Average Customer Review: 3.6 out of 5 stars  See all reviews (53 customer reviews)
    • ASIN: B002P7UCBI
    • Amazon Best Sellers Rank: #43,010 in Movies & TV (See Top 100 in Movies & TV)
    • Learn more about "The Limits of Control" on IMDb

    Customer Reviews

    In the film, "The Limits of Control", the lead character, "The Lone Man", is an existenialist hero.
    Neuromancer
    Tilda Swinton's briefly seen character practically spells it out when pondering movies: "Sometimes I like it in films when people just sit there not saying anything."
    thejoelmeister
    There is hardly any dialogue in the film, and the little there is isn't very realistic, in fact, it's almost poetic.
    Grigory's Girl

    Most Helpful Customer Reviews

    36 of 38 people found the following review helpful By Neuromancer on February 26, 2010
    Verified Purchase
    Okay, for all you who say this film is about nothing, I'd like to give you my take on it. Now, I'm not saying that Jarmusch consciously intended this as an interpretation - I have no way of knowing what he was thinking other than the images that he and Christopher Doyle put together. I do think, though, that the artist is often used by the unconscious to communicate what is very difficult to put in words. Here's what I got from this beautiful, mysterious work.

    In the film, "The Limits of Control", the lead character, "The Lone Man", is an existenialist hero. He is both detached and disciplined and through his spontaneity and openness to "imagination" he is able to follow his intuition and slay the tyrannical ego, "the American", played by Bill Murray. In both the personal sense and a societal sense (as embodied by the giant corporation) the ego has become an instrument of control run amok - one that crushes the individual and all creativity (mankind's artistic, intuitive side)... he is the ultimate imperialist. The ego, in its overwhelming narcissism, is above all else fearful of its demise and loss of control. "The American" (the ego) creates a fortress, or citadel of defenses to keep out any perceived threats to his dominance and unnatural pretense of immortality. "The American" has literally surrounded himself in an armed fortress, overrunning with hired guards and a flawed sense of security - all to prop up his inflated self-worth. What this does is mask his basic vulnurability and fear of death. He places his toupee (or vanity) on the skull that sits on his desk of authority.
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    28 of 33 people found the following review helpful By avoraciousreader on May 5, 2009
    The Limits of Control
    dir Jim Jarmusch 2009

    5* Haunting neo-noir

    I just saw a preview of this film last night, and ... wow. Very Jarmuschian, very Doyle'ish. Yes, legendary Wong Kar-Wai cinematographer Chris Doyle shot this, and it was an inspired fit. Visually, the film is beautiful as we tour Spain from the cities to the remote country, yet at the same time brooding and ominous.

    Which was suitable, since the overall effect of this film is definitely noir. Mysterious goings on, presumably unlawful; suspenseful music; a morally ambiguous central character; the aforementioned brooding and ominous landscape; even a flamenco rehearsal reminiscent of the almost obligatory nightclub scenes in classic noir.

    Structurally, the film is simple. A Lone Man (played with impeccable detachment by Isaach De Bankole') arrives in Madrid. He is contacted, given brief and cryptic instructions, and goes on to make the next contact. At each stage, he orders two espressos, "in separate cups", opens a matchbox to find a folded square of paper with a few numbers and letters on it (coordinates?), which he memorizes and destroys; he has some task such as "find the violin"; he hangs out for a while, always ordering two separate espressos, until he is contacted, given a pass phrase; has a few cryptic words and exchanges his matchbox for a new one, and sets off on the next phase. At each stage there is a small cast of sharply drawn characters, cameos really ... the flamenco performers; or a cafe waiter impatient with his habits; or the beautiful, naked, and seemingly very willing (though we're never sure just what game she's playing), young woman (Paz de la Huerta) who shows up in his hotel room.
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    24 of 28 people found the following review helpful By Giordano Bruno on May 9, 2010
    Format: DVD Verified Purchase
    "Limits" DOES tell a story. It has a plot, almost the same plot really as many films about assassination. An impassive, relentless,'professional' hit man is commissioned by a syndicate to kill a big shot of another syndicate. The 'hit' requires him to make contact witha series of strangers who present him with crucial info, presumably about the location of his target. The strangers are bizarre. The mission proceeds to its climax, as it has been obvious that it would from the first scene.

    However, there's no explication. No context. We have no idea who wants whom killed, or for what reason, and we never learn. Likewise, we have no reason to care, no favorites as it were, no complicating empathy for the killer or sympathy for his target. The whole verbal script for this film could be typed on a single flash card, and if its insistent repetitions were deleted, half the flash card would be blank. There is nothing in this film to engage the viewer's involvement. It's a pure ballet of cinematography, a narrative as abstract as a painting by Mondrian.

    In other words, it's a tour de force by director Jim Jarmusch, a manifestation of his "limits" of cinematic control. An experiment in which the viewer is the arbiter of success, as of course the viewer must be. If it works for you, it works. Period. I rather suspect that the vast majority of viewers will denounce this film as boring beyond belief, and for them, it surely is. I stayed the course, as cold-bloodedly as the killer did. I've given MYSELF five stars for perseverance in the quest for artistry.
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