I like the storyline of this show,it attract me so much

The storyline feels a little thin and moth-eaten in parts but this sequel is plenty of fun.

The best films of this genre always show a path and provide a takeaway for being a better person.

Although I seem to have had higher expectations than I thought, the movie is super entertaining.

This is my favorite Jim Jarmusch movie by far. The acting of John Lurie (Willie), Eszter Balint (Eva) and Richard Edson (Eddie) are extremely believable, to the extent that looks almost documentary, and is easy for the viewer to get familiarize with them.The relationships between the characters are quite realistic, with an extra surreal touch, due to their opposite personalities: Willie and Eddie don't agree about decision making. On the other hand, find it hard to show their feelings about Eva. This fact leads funny and bizarre situations. Despite the "tough guy" look of Willie, he is quite insecure. He even resigns of his own nationality: Hungarian.Some reviewers points that Eszter Balint performance is quite discreet. I disagree. She acts very naturally, with the feeling of a teenager who came alone for the first time from Hungary to New York Jungle.9/10

I first encountered Stranger than Paradise in a Intro to Film tutorial - - I think it was for the week on cinematography. It was only the opening scene, but the visual style grabbed me right away. The grainy black and white, looking not like a 1980s feature film but rather newsreel of some mid-century atrocity, the long opening shot of Eszter Balint's Eva walking away from the airport like an angel of death, the almost-surreal scene of her walking through the streets blaring "I Put A Spell On You"... it stuck with me. A few years later, I finally got around to watching the film in its entirety. The visual style fades after a while and becomes invisible in the way cinematography tends to. But what emerges in its place is a slow but devastating character drama.Stranger than Paradise is really about the immigrant experience in America. In this way it is a strange, low-key response to The Godfather. Whereas Coppola saw the story of the immigrant as one of struggle, seduction, and eventual corruption -- a Hollywood tragedy, in other words -- Jarmusch argues that it is a grind, an endless procession of ungrateful relatives, incomprehensible television, dead-end jobs, and the slow realization that no matter where you go, the banality of real life is always there ahead of you.Jarmusch was a pioneer in independent American cinema. The style of Stranger than Paradise is echoed in any of the countless "mumblecore" films that deal with the mundanity of contemporary existence (and perhaps existence in general). It is frequently a boring film, mainly because it is about boredom and its omnipresence. Certainly it could be aesthetically improved, so that the dialogue and the characters have the same artistic grace as the cinematography. But somehow I like Stranger than Paradise just as it is. Instead of the catharsis of Hollywood, it leaves the viewer with an emptiness, a strange hole in their gut that they can't quite figure out what to do with. But maybe that hole was always there, and the film only cast a revelatory light on it.

"Stranger Than Paradise" is an offbeat, low-budget, black and white film about a slacker who meets his immigrant cousin and the effect she has on his life. Willie- our hero- is disgusted when he first meets Eva… he seems to be in denial of his Hungarian heritage and ashamed of his family. But she slowly, quietly makes an impression on him, and when she leaves New York for Cleveland, Willie and his friend Eddie- the wonderful Richard Edson- make their way to see her.She is stuck, Americanized, working in a hot dog stand, living with an elderly Aunt who is either unable or unwilling to speak English. Eva tells the fellows that she would like to be "rescued" and "kidnapped" because she hates her life, so the trio ventures down to the paradise of Florida.There was a very obvious choice made by Director Jim Jarmusch to have minimal dialogue, which adds to the film's deliberate, unpolished feel, but just as often seems completely unrealistic. For such a stark, proudly-independent feel Jarmusch employs a brazen deus ex machina to resolve the dead-end storyline: Eva is simply walking along the street when a jive-talking black man hands her an envelope stuffed with cash. Is this her reward for being a Screaming Jay Hawkins fan? I don't think so.The movie came to a perfect ending: Willie boards the plane, rejecting America, rejecting the culture that drove him to become a card sharp and gambler, and returns to Budapest where he will finally embrace his roots and true identity and start life over. The final shot is Eva returning to her Florida hotel room. Maybe she has to subject herself to more suffering and loneliness in the States before she is able to make the same transformation. "Stranger Than Paradise" is thought-provoking and entirely original, and that alone makes it worth seeing.GRADE: B-

This cool to distraction cult favorite introduced art house audiences to the minimalism of writer director Jim Jarmusch, who in his breakthrough feature walks a fine line between tedium and hilarity. Mix the two together and the result is a unique if lukewarm comedy exploring American culture at its lowest common denominator, resembling a lonely little travelogue of cheap motel rooms and TV dinners. The trio of unlikely protagonists: a listless New York City non-entity (Lounge Lizards saxophonist John Lurie), his dimwitted but amiable friend, and a demure Hungarian cousin, detour from the Big Apple to Cleveland to Florida, but while the landscapes never change the film is not as pointless as it appears. The rigid construction, with each self-contained scene blacking out before the next, adds up (curiously) to something more than the sum of its loosely fitted parts, and once adjusted to the halting pace viewers will discover an offbeat alternative to conventional storytelling techniques.