The Hollywood Reporter by Todd McCarthy

Only Lovers Left Alive is an addictive mood and tone piece, a nocturnal reverie that incidentally celebrates a marriage that has lasted untold centuries.

Village Voice by Stephanie Zacharek

Only Lovers Left Alive is silly and deeply serious at once, an elegy with a light touch and more than a dash of hope.

Time Out by Keith Uhlich

If Jim Jarmusch’s languorous, laconic style isn’t your bag, his stone-faced vampire comedy won’t make you a believer. Those who’ve already been bitten, however, will swoon like the film’s toothy leads whenever their lips touch neck juice.

Film.com by Jordan Hoffman

Only Lovers Left Alive is an exhibit A example of how to use style to enhance substance, not overwhelm it.

IndieWire by Eric Kohn

If you can groove with Jarmusch's patient, philosophical indulgences and the wooden exteriors of his characters' lives, the movie rewards with a savvy emotional payoff about moving forward even when the motivation to do so has gone.

The A.V. Club by A.A. Dowd

In many respects, Adam and Eve are nocturnal cousins to the angels from Wim Wenders’ "Wings Of Desire": They’re secret observers of history, living records of the past with little control over the future. But Jarmusch has no interest in the kind of guilt and grief Wenders wove through his movie; Only Lovers comes in a hipper, sexier shade of melancholy.

The Dissolve by Scott Tobias

Only Lovers Left Alive accomplishes the neat trick of reinventing a moribund genre as a distinctly Jarmuschian hangout movie.

New York Magazine (Vulture) by David Edelstein

Do I detect a note of self-satire in Jarmusch’s undead? I’d like to think he’s poking fun at his own stylized, white-boy cool. But underneath, of course, he’s deadly serious. A ruined metropolis, a snatch of dialogue about coming water wars, a poisoned blood supply: The garden of Adam and Eve is despoiled beyond remedy. This is a charming dirge, though.

Slate by Sharan Shetty

Rarely has Jarmusch’s style been so inherently suited to his content. Stillness and silence, the cardinal virtues of his method, have never been so pertinent as in the lives of the undead.

Austin Chronicle by Marjorie Baumgarten

The film is hypnotic, which lends it an addictive sensibility that complements the need Adam and Eve have for their bloody fixes.

Slant Magazine

As is so often the case in Jim Jarmusch's films, simply spending time in the company of his creations proves engrossing.

The Playlist by Jessica Kiang

It’s an offbeat, fun, and frequently very funny film, lifted out of disposability by some wonderfully rich production design, music cuts and photography, and by the cherishable performances of the leads.

Empire by Ian Nathan

Haunting and idiosyncratic, Jarmusch’s vampire marriage preaches to the converted, but he’s in fine voice nonetheless.

The Telegraph by Robbie Collin

The real reason to see this is Swinton and Hiddleston’s sexy, pallid double act: two old souls in hot bodies who have long tired of this Earth, but have nowhere else to make their home.

The Guardian by Peter Bradshaw

If it is an exercise in style … well, what style. With its retro-chic connoisseurship and analogue era rock, this is a brilliant haute-hippy homage.

Time Out London by Dave Calhoun

Only Lovers Left Alive drags its feet and shows serious signs of anaemia as a story.

Variety by Leslie Felperin

A sweet but slight love story about world-weary hipster bloodsuckers.