#123movies #fmovies #putlocker #gomovies #solarmovie #soap2day Watch Full Movie Online Free – Exactly one week in the life of a young man named Paterson of Paterson, New Jersey is presented. He lives an extremely regimented and routinized life, that routine perhaps most vividly displayed by the fact that he is able to wake up at exactly the same time every day without an alarm. That life includes eating Cheerios for breakfast, walking to work carrying his brown bag lunch packed in his lunch pail by his wife Laura, having a casual chat with his colleague Donny before he begins his shift driving the #23 Paterson bus for the local public transit company, walking home where he straightens out the exterior mailbox which somehow during the day gets knocked crooked, eating dinner with Laura and listening to her goings-on of the day, taking Laura’s English bulldog Marvin – who he would admit to himself he doesn’t much like – out for a walk to his neighborhood bar where he has one and only one beer before walking home with Marvin. There are day to day variations which are often the result of how certain other routines associated to him manifest themselves, such as what drama will occur in the relationship of Marie and Everett who are always at the bar together despite her always saying that they are no longer together, or in what form Laura’s unique and distinctive design sense will affect Paterson’s life directly or indirectly. Paterson’s keen observances of what happens around him are largely the bases for the poems he writes, he constantly thinking of these and writing them in his secret notebook whenever he has a spare moment during his day. He is influenced by among others Paterson natives such as William Carlos Williams and his epic poem “Paterson”. Paterson’s writing are largely for himself, although Laura would like him to share more with her and the rest of the world. Something that happens to Paterson this week has the potential to knock his routinized world into a tailspin.
Plot: A week in the life of Paterson, a poet bus driver, and his wife Laura, a very creative artist, who live in Paterson, New Jersey, hometown of many famous poets and artists.
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Jim Jarmusch’s 2016 film PATERSON is a study of everyday life in a small American city. Its title refers on one hand to its setting of Paterson, New Jersey, much less known abroad than other towns in the state but a surprising number of prominent Americans hailed from there and it was eulogized in an epic-length work by the poet William Carlos Williams. On the other hand, Paterson is coincidentally the last name of our protagonist, a thirty-something bus driver played by Adam Driver.
The film is a day-by-day account of one week in Paterson’s life and in fact each day is rather the same: Paterson wakes up, kisses his wife (played by Golshifteh Farahani), goes to work driving the bus, comes home, eats dinner with his wife, takes the dog for a walk, and has a beer at the local bar. Yet Paterson also has an unusual hobby: for some time he has written poetry during each day’s lunch break, and he has filled a small notebook with poems that his wife calls wonderful, but which he has never shown to anyone else.
There is a plot to Paterson, that is, an increasing of tension and a sudden and jarring climax, but overall Jarmusch is not aiming for any grand and intricate storytelling here. Instead, he is intentionally trying to capture the quiet music of one ordinary person’s existence. Or should I say, two ordinary people’s existence, for the film sympathetically captures this couple’s marriage. Their relationship is a simple, uncomplicated one of trust and mutual understanding. Paterson is extremely fortunate to have this, as events around him show. (The script is by Sara Driver, Jarmusch’s partner of decades, and one might see the film as a hymn to their own special relationship.) Many viewers are likely to find this heartwarming, while other viewers in more fraught marriages might burn with jealousy at Paterson and his wife’s incredible harmony.
Those familiar with Jarmusch’s earlier work know that he has always liked to show a great deal of urban blight before the camera, such as vacant lots overgrown with weeds and graffitied walls. For Jarmusch, these backdrops supposedly served as a counterweight to the typical Hollywood depictions of the USA as all glitz, and it helped to underscore the bohemian qualities of his characters. Yet this blight surprisingly absent here. Paterson, New Jersey is instead shown as a clean and fairly prosperous town. Its residents, regardless of socioeconomic status or race, are depicted as rather content people.
In fact, at regular points in the film Jarmusch depicts interactions between whites and African-Americans or between gays and straights as if celebrating our new modern era when all those old divisions don’t matter any more. This is definitely the most optimistic film that Jarmusch has ever shot, but this utopian vision does come across as a little heavy-handed and one feels that Jarmusch is overlooking pressing social issues that continue to hold many people back. Watching this film, I couldn’t help but protest that this gentrified setting is not all of America, just a privileged few.
Still, in spite of the film’s flaws, the depiction of married life and the way that poetry is worked into the story is very moving, and I do feel this is worth watching, at least for established Jarmusch fans or those comfortable with indie cinema.
If you appreciate the delicacies of a quiet, slice-of-life dramedy that hinges on the edginess of minimal observations of routine life as an artistic examination then you are in for a delectable treat with the skillful and witty inflections of writer/director Jim Jarmusch’s whimsical and wry offering **Paterson**. Jarmusch, known for his quirky and sedated dramas that include the highly underrated 2005 Bill Murray vehicle _Broken Flowers_ and 2009’s _The Limits of Control_, is back to add to his familiar repertoire of solemn filmmaking with an admirable character study of an Everyday man named Paterson (Adam Driver, “Star Wars: The Force Awakens”) trying to balance a structured, day-by-day existence with poetic leanings as his measurement of escapism. Remember, this is Jim Jarmusch’s isolated cinematic world where experiencing one of his big screen creations is much like living in an insulated bubble with meditation whale sounds to ease your tension…you just need to go with the slow pacing and appreciate the nuances of its resonance. In fact, the only recent radical submission from Jarmusch is this year’s documentary _Gimmie Danger_ and that is even riddled with mild-like rawness.
Consequently, **Paterson** is the type of off-kilter, contemplative and quaint motion picture that begs one to check their excitement at the door. The flashiness of Jarmusch’s creative overtones is ironically the low-key blueprint of the film’s leading protagonist Paterson (the man) and urban setting (Paterson, New Jersey–the city that shares the same name with Driver’s blue-collar characterization). Dutifully, the film allows the audience to ride the waves of the repetitive conformity of a man seemingly going through the motions in life from the perspective of a married working stiff whose occasional stimulation besides his lovely wife Laura (Iranian-born actress Golshifteh Farahani) and four-legged adorable bulldog Marvin is his need to write poetry in his trusted notebook of eloquent thoughts. It certainly helps that the hometown bearing his moniker that surrounds him as he regularly drives the bus each day carrying the familiar and not-so-familiar faces as they are carted off to their various destinations acts as a steady stream for inspiration.
Some will relate to Paterson’s stillborn existence of repeating his daily agenda for work and leisurely downtime while others may dread the tedious notion of being so predictable and practical as this disciplined city bus driver has mastered so effortlessly. The scheduled outline never deviates for Paterson as he gets up early at the same time, goes to work while cruising the same bus routes, returns home to his fetching spouse Laura for dinnertime then walks Marvin to the local bar for his taste of a mug of beer to ease the tensions of the work day. It does need repeating that Paterson must engage in his passages of poetry–something that he does not miss a beat on for sure.
Interestingly, Laura is also an odd duck whose own sense of head-scratching regimen actually rivals that of her husband’s day-by-day customs. Laura has dreams and does not hesitate in throwing herself into random activities that give her a sense of anticipated rush and reason to follow with faithful conviction. With the obsessive black-and-white coloring schemes in clothing, food and furniture that perversely pleases her Laura longs for the personal satisfaction that feels as therapeutic for her as the reliable quirks does for Paterson as well. Together, they march to the bizarre beat of their own drums. However, the dichotomy in their philosophical lives clash as Paterson is a creature that does not cozy of to change whereas Laura embraces her urges for different challenges whenever they come into fruition.
One may find it quite difficult to celebrate **Paterson** because it is an intimate film with a small-scale mentality that dares to look at the lives of ordinary, married people as they shift through their livelihood tainted with tiny triumphs and trying times. Nevertheless, at the box office office where superheroes, zombies and continuous _Star Wars_ installments reign supreme there can be something said for cheeky melodramas such as **Paterson** that draws its imaginative scope on solid storytelling with the concentration on hard-working, flawed people just trying to take on the day for the moment.
In a sentimental and subtly sharp performance, Driver is effectively potent as Paterson, a poetic pariah that translates the rhythms of his beloved city and people into a notebook that speaks his lyrical language. He is who he is and is unapologetic about his mission to adhere to anything different than what he is already used to that persists. Also, the beautiful Farahani is a revelation in her own right as the free-spirit with various whims that entail baking cupcakes one minute or arranging drapes the very next minute. The supporting characters are refreshingly realized especially when the spotlight settles in on the small tavern where Paterson systematically nurses his one beer all week long. And even the gruff but treasured Marvin (as played by the late canine actor Nellie) fits so handsomely into the saga of these ordinary folks relaxing in their own arbitrary skin. As simplistic as the poet Paterson is at heart and soul Jarmusch is shrewd to suggest that perhaps the hidden complexities of his expressive leading man is more explosive than what is let on throughout the narrative. Indeed, the mysterious nature of Driver’s devoted transit worker is a curiosity worth speculating over.
In conclusion, there is nothing wrong with worshiping car chases, alien attacks or enjoying the occasion teen sex farce. Still, whenever there is warranted shelf room for a sublime, insightful look at under-the-radar celebrations of casual lives, love and checkered eccentricities than the Jim Jarmusches and Terrence Malicks of the cinema world are welcomed to the table of film fodder that moves and grooves on its old-fashioned, unique purpose more relatable than your doomsday delight of resident space invaders.
Amazon Studios/Animal Kingdom/Bleecher Street Media/Inkjet Productions
1 hr. 55 mins.
Starring: Adam Driver, Goldshifteh Farahani, Method Man
Directed and Written by: Jim Jarmusch
MPAA Rating: R
Critic’s Rating: **** stars (out of 4 stars)
(c) **Frank Ochieng** 2016
It Is Simple
I decided to watch this film because of two friends who claimed they did not understand what is happening and that they did not know how to watch a movie. I saw the and the answer is simple. In fact, the answer is in the movie itself!
If you are a fan of William Carlos Williams or a fan of Archibald McLeish (both poets), then the answer is throughout the film. Unlike many of today’s films, this one celebrates the essence of a film by just being a film. McLeish offers an answer in his poem, “Ars Poetica” where he asserts a poem does not “mean,” it simply is.
Williams also offers an answer in his works: there is an inherent value in the the “thingness of things” whether it is the bowl of plums reference in this film or in the red wheelbarrow.
What Jarmush has given us is an excellent example of what these two poets told us years ago: there is value in the small and simple things of life. That is all this film is about and we are told, point blank, at the end of the movie: the Japanese poet asks Paterson if he, too, is a poet. Paterson says, no; he is only a bus driver. The Japanese poet says, “This could be a poem by William Carlos Williams.”
And, indeed, that is what we have just seen.
Wish the dog ate this script
I started this movie about 4 years ago and turned it off after 45 minutes because I found it dull. Fast forward to today and I saw this movie on my watchlist and thought it sounded interesting. When I pushed the play icon it started in the middle of the movie. I realized I must have watched this before. I let it run for about 5 minutes and wondered why I thought it was boring in the first place, but then after about 10 minutes I was bored again. I let it play to the end.
If you thought this review was boring then you already know what this movie is like.
Original Language en
Runtime 1 hr 58 min (118 min)
Genre Comedy, Drama, Romance
Director Jim Jarmusch
Writer Jim Jarmusch, William Carlos Williams, Ron Padgett
Actors Adam Driver, Golshifteh Farahani, Nellie
Country France, Germany, United States
Awards 10 wins & 43 nominations
Production Company N/A
Sound Mix Dolby Digital
Aspect Ratio 1.85 : 1
Camera Arri Alexa Mini, Zeiss Variable Prime Lenses, Arri Alexa Studio, Zeiss Variable Prime Lenses
Laboratory Harbor Picture Company, New York (NY), USA (dailies) (digital intermediate), Labodigital (35mm filmout lab)
Film Length N/A
Negative Format SxS Pro
Cinematographic Process Digital Intermediate (2K) (master format), ProRes 4:4:4 (2K) (source format)
Printed Film Format D-Cinema