Reviews provided by RottenTomatoes
Murray has never been better than he is here, but then he's never had a part that fit him so well, either.
Ebert & Roeper:
Johansson is lovely and funny and sarcastic and sincere, and Murray is nothing short of great.
Mysterious and complex, as it muses bittersweetly on marriage, longing and the disconnectedness one can feel from another culture or people.
New York Times:
One of the purest and simplest examples ever of a director falling in love with her star's gifts.
Eleanor Ringel Gillespie,
[Murray] can still do more with a raised eyebrow than anyone since Groucho Marx, but he's mellower and sometimes slightly poignant.
It allows Scarlett Johansson to arrive as an actress at the same time it finally gives Bill Murray the great role that has always eluded him.
How to sing the praises of Lost in Translation without drowning out its subtle pleasures?
Globe and Mail:
In Lost in Translation, [Murray] emerges as a complete character -- honourable and venal, fallible and funny, adding vulnerability to the panache.
Dallas Morning News:
Lost in Translation is a fortunate encounter between a young talent on the rise and an old pro still hitting his stride.
Though the year is 2003 and the world is, in so many ways, at its smallest ... we are, this extraordinary new movie reminds us, ever more diffused, ever less able to make meaningful connections.
Remarkably sophisticated, honest, consistently hilarious and very real.
With this film it becomes clear that Sofia Coppola is a filmmaker with eyes all her own.
New York Magazine/Vulture:
In Japan, the most extreme delicacy goes hand in hand with garishness, and Coppola offers up both for our delectation. It's a heady, hallucinatory combo.
The old adage says that poetry is what's lost in translation, but the poetry is all that survives in Sofia Coppola's wispy art film.
New York Daily News:
A smartly written, confidently directed film that delivers big laughs while developing two of the year's most earnest characters and some of its most rewarding sentiments.
New York Observer:
Of course, Mr. Murray gets all the laughs with his exquisite timing and wry delivery, but Ms. Johansson makes an eloquent and charismatic listener.
This study into the unfathomable depths of human relationships has more honesty than 95% of the movies I have seen this year.
Sofia Coppola's stealthy romance about two Americans stranded in Tokyo is a work of marvelous delicacy -- and offers the performance of Bill Murray's career.
San Francisco Chronicle:
[Coppola] gives us a film so poignant, so funny, so free of self-satisfied bravado, that one can't help but look forward to her next work.
Minneapolis Star Tribune:
By the end of Lost in Translation, we don't know much about Japan, but we know a lot more about the human condition.
How instinctively we react -- and connect -- when a film captures a feeling that is all too common, and all too real.
Lost in Translation revels in contradictions. It's a comedy about melancholy, a romance without consummation, a travelogue that rarely hits the road.
So far as the central relationship goes, the film is almost European in its subtlety and nuance. Cinematic cherry blossom.
The joys of Sofia Coppola's Lost in Translation come from watching Murray modify his trademark passive- aggressive style into played-straight comic bewilderment -- and to marvel at his slim new picture- of-health appearance.
Very much a mood piece, the film's deft balance of humor and poignancy makes it both a pleasurable and melancholy experience.
Coppola -- who wrote as well as directed -- gives Murray room to stretch and is rewarded with some remarkably melancholy clowning.