Vox says, "Paterson, the quietly philosophical tale of a bus-driving poet, is one of 2016's best films". Rolling Stone says, "Jim Jarmusch Scores With Tribute to Poetry All Around Us" and calls it "a quiet celebration of everyday people". Empire Online closes: "Quiet, thoughtful and deeply human, this is one of Jarmusch’s finest and features Adam Driver’s best performance yet — although you do risk coming out with a new affection for modernist poetry."
The New Yorker opens a positive review with this:
im Jarmusch is among the rarest and most precious filmmakers of our time, because, at his best—as he is in his new film, “Paterson”—he conjures an entire world of his own imagination. He does so with his wry and tamped-down tone, his loping rhythms, his puckishly frontal compositions, his worn-in sense of design, the winking terseness of his dialogue—and the loving precision of his documentary-rooted observations, which anchor his microcosmic cinematic world, with its austerely whimsical passions, in the world at large.
Roger Ebert's site concludes, "That is ultimately the very real thing that the movie is about: the conviction that if you can live at least part of your life breathing poetry (and that poetry is not necessarily a verbal thing), you can make your life more worthwhile." Rotten Tomatoes has a critics consensus score of 96%.
I have also seen these other Jarmusch films:
- Strange to Meet You (1986)
- Down by Law (1986)
- Night on Earth (1991)
- Dead Man (1995)
- Only Lovers Left Alive (2013)