Bill Cosby Cigarettes increase the risk of cancer, and Coffee prevents sleep. Bad. Cigarettes increase the risk of cancer, and Coffee prevents sleep. Bad. Cigarettes increase the risk of cancer, and Coffee prevents sleep. Bad. Cigarettes increase the risk of cancer, and Coffee prevents sleep. Bad. Cigarettes increase the risk of cancer, and Coffee prevents sleep. Bad.

Egwin This a rather unusual series of shorts. I will review every short individually.Strange to meet you- A rather strange little segment. Wright's "dream faster" monologue is best part. Twins- Well-done, although Buscemi's fake Southern accent is awful. It will probably be funnier for those who have seen Mystery Train.Somewhere in California- Great with appealing Waits and Pop. Those Things'll Kill ya- Funny, but fairly short.Renee- Terrible. Almost no dialog, and pointless.No Problem- Pointless, but De Bankole is always good. Note: Only segment with any dialog in a foreign language (French).Cousins- Great acting from Blanchett, though overrated skit.Jack Shows Meg his Tesla coil- Bad. Unfunny and unappealing bro-sis combo. Cousins?- The best. Very funny, with a comment on modern society and its "rules". Delirium- Quite good. Wonderful combo of Murray and Wu-tang clan. Champagne- Silly, but good finale to the film. Overall, *** out of ****

Zed Misrahi I am sure Jarmusch intended Coffee and Cigarettes to be better than the ordure that poured forth endlessly onto the screen before me - perhaps that was the realisation of the concept! I admired the attempt at something different, but frankly the result was eye wateringly awful with a bitter aftertaste. When even Steve Wright and Roberto Benigni can do no better than college level falseness and over acting you just know something ain't right. The African 'No Problem' sketch with the Dice Man undertones? Please tell me Jarmusch was being blackmailed by one of those two guys into including that stilted and inept nonsense into the final cut! Coogan and Molina, and Blanchet are the few that emerge from this execrable disaster with reputations intact. And Iggy, you just died, mate.The Passenger will never sound the same again.This film will be called wonderful by many, simply because of the cast, because of the Jarmusch reputation, and because love is blind. This was seen as a seriously off day for Jim by those of us that don't wear rose tinted or sun glasses in cinemas. The funniest line in all of this was actually posted right here on IMDb, with a poster explaining that Tarantino can't do great films like Coffee and Cigarettes because " Tarantino is a cinematographer not a writer (for film)". Thankyou that man. I am still chuckling now.

benjamin_lappin The creation of Jim Jarmusch "Coffee and Cigarettes", is an amalgamation of eleven varying in length vignettes that detail interactions between various characters in random places as they sit around a table somewhere and do as the title would suggest, drink coffee and smoke cigarettes. It follows a numerous number of celebrities and in a manner not often seen before in film, they play themselves in bizarre and sometimes improvised little pieces, that have no precise theme linking them but address varying aspects of human interaction.Coffee and Cigarettes looks at the niche side of human engagement, in detail the director focuses on the little nuances of social etiquette and attitudes. We've all experienced one of the scenes in some form or another, the "No Problem" segment being the obvious one whereby we have all spoken with someone who has something they want to say but do not wish to reveal it. The "No Problem" vignette as a prime example though of how the directors wishes do not always work. It attempts to highlight how frustrating this arduous process of extracting information can be by trying to enforce a naturalistic dialogue through its improvised means, which we can relate to, but from a viewing perspective the tedium grows rapidly. Jarmusch successfully highlights moments of awkwardness and aspects of life, but often due to the improvised nature of the piece finds that its execution lets it down in a couple of weaker segments. The Tom Waits and Iggy Pop meet, mirrored with the Alfred Molina and Steve Coogan section highlight the best in cringe worthy social awkwardness, where good gestures are misinterpreted and to not risk a silence you often find yourself saying something which is taken out of context. Bill Murray and his Wu Tang compatriots are engaging in their genial comedic slot although the particular sketch, while enjoyable, feels out of line with the trend. Renee French provides the perfect acting lesson in sensuality and solemn dignity, a woman wishing to be left alone bu continually pestered by the waiter that obviously fancies her physical exterior yet cannot express so in words. In contrast, Benigni and Wright provide us with a lesson in surrealism which says less about meeting a stranger than it does suggesting that they are border line schizophrenic through their coffee taking habits, while Buscemi feels completely misused and out of place as he rants about Elvis conspiracies in the "Twins" encounter. My major irking stems from the Cate Blanchett sequence which is undeniably well edited, yet despite opinion that her "cousin" (played by herself) is a tag along annoying draggy little waste I find the opposite. I realise it's self-parody and that Jarmusch is showing that both are at fault for their pseudo-relationship, but I find myself bemused by the insistence that Cate as Cate is the set upon. Each mini-film, each story presents something new about humanity, reflects something different about a situation we may have been in, reflects something different about how we go about talking with people, but not all are enjoyable to watch.So why the six out of ten mark? Suffice to say when this film hits, it certainly hits its mark. I realise it's been a somewhat overly negative review, but only because there is so much promise in roughly half the segments, that the other half seem such let down as it slows the middle portion of the film to sluggish proportions and has you questioning the improvised nature of some segments. I realise the impromptu nature of the pieces highlights the impromptu nature of civil interaction with a friend, a colleague, a sister or a stranger but had the dialogue been sharper in a handful more scenes this could be a blistering film of severely addictive proportions. It is comedic as we see ourselves fumbling around in the situations are screen counterparts do. When the realism lands its mark its purposeful black and white filming counterbalances the coffee and cigarette pastiche and is an acutely accurate and painfully amusing lesson in the potentials and pitfalls of simple chit- chat. When it fails, it becomes more like a wet cigarette, losing its light and heat, leaving you scrambling for a lighter that turns out to be a remote control fast forwarding to the next scene. It's addictive, and yet leaves you often wanting to quit when it loses its buzz.