list http://www.spout.com/ Recent community activity around The Brown Bunny on Spout Copyright 2005-9 Spout, LLC Spout RSS http://www.spout.com/images/SpoutLogoRSS.jpg http://www.spout.com/ 136 30 http://www.spout.com/films/The_Brown_Bunny/226322/default.aspx Title: The Brown Bunny
Year: 2004
Director: Vincent Gallo
Plot: Actor and musician Vincent Gallo takes on the role of writer, director, editor, cinematographer, and star with his second filmmaking effort, The Brown Bunny. Motorcycle racer Bud Clay (Gallo) drives his van across the country in search of his lost love, Daisy (Chloë Sevigny). He stops at her parents' house and sees the brown bunny she left behind. Along the rest of the way, he stops for gas, rides his bike, and makes out with a woman at a roadside rest area (Cheryl Tiegs). He meets up with Daisy when he finally arrives in Los Angeles, leading to the revelatory conclusion in his hotel room. The Brown Bunny premiered in competition at the 2003 Cannes Film Festival in a working cut of 119 minutes that was widely panned; a 93 minute final edit was shown at subsequent festivals and premiered in the United States in the summer of 2004. ~ Andrea LeVasseur, All Movie Guide
Times Tagged: 12
Number of Lists: 8
Number of blog posts: 6
Number of discussion threads: 1
SpoutRating: 2
]]>Mon, 06 Jul 2009 19:13:54 GMTThe Brown Bunny2004Vincent GalloActor and musician <a href="/players/P____90927/default.aspx" style='text-decoration:underline'>Vincent Gallo</a> takes on the role of writer, director, editor, cinematographer, and star with his second filmmaking effort, The Brown Bunny. Motorcycle racer Bud Clay (Gallo) drives his van across the country in search of his lost love, Daisy (<a href="/players/P___230831/default.aspx" style='text-decoration:underline'>Chloë Sevigny</a>). He stops at her parents' house and sees the brown bunny she left behind. Along the rest of the way, he stops for gas, rides his bike, and makes out with a woman at a roadside rest area (Cheryl Tiegs). He meets up with Daisy when he finally arrives in Los Angeles, leading to the revelatory conclusion in his hotel room. The Brown Bunny premiered in competition at the 2003 Cannes Film Festival in a working cut of 119 minutes that was widely panned; a 93 minute final edit was shown at subsequent festivals and premiered in the United States in the summer of 2004. ~ Andrea LeVasseur, All Movie Guide12Tag Target (>10)8612http://www.spout.com/ProductImages/t62893gqfku.jpghttp://www.spout.com/films/The_Brown_Bunny/226322/default.aspxFilm http://www.spout.com/blogs/spoutblog/archive/2008/9/11/35022.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 9/11/2008 12:00:32 PM
Body: Due to the unsurprising popularity of our “10 Movies Sold on a Sex Scene” list a few weeks back, I’ve decided to unleash a sequel. However, catering to both Spoutblog’s traffic and the interests of ever-abundant sex-attracted internetters is only half my reason for this follow-up list. I was mainly motivated by the outcome of the release of Woody Allen’s Vicky Cristina Barcelona, a film that also initially inspired the first list. While Vicky was partly sold on the promise of a threesome between Scarlett Johansson, Javier Bardem and Penelope Cruz, it is now fortunately being celebrated, and it will likely be remembered, primarily for Cruz’s performance. Not for the threesome or for the lesbian kiss. Other movies sold on a sex scene, though, are not typically so blessed with accolades. And even some that are recognized with high praise at time of release are often later forgotten as anything but fodder for MrSkin and other followers of onscreen sex and nudity. Obviously this means that most of my selections for the previous list may also qualify here, yet I’ve chosen to ignore some certainly fitting titles, including The Brown Bunny and 9 1/2 Weeks, so as not to repeat myself. Basic Instinct (1992) This was left off the earlier list, though I had originally planned on including it. Now that I’ve decided to do this follow-up, I’m positive that it fits better here. Many people undoubtedly went to see Paul Verhoeven’s erotic thriller more for the eroticism than the thrills, but that can’t be the case for every moviegoer who helped make the film a smash hit. There are plenty of erotic thrillers out there, but only one grossed more than $350 million (Fatal Attraction, which earned more than Basic Instinct domestically, came close). Could it be that the film is actually good? Plenty of respectable critics thought so, including Janet Maslin and Jonathan Rosenbaum, both of whom praised the Hitchcock influence. However, it’s easy to now remember the film primarily for the infamous Sharon Stone upskirt shot, which I deem qualifiable as a sex scene due to the way Stone’s character seems to have sort of psychological intercourse with her interrogators. Last Tango in Paris (1972) Here we have another mostly well-reviewed film that is possibly only still in the public consciousness due to its controversial sex scenes. That isn’t to say the critics and cinephiles don’t still appreciate it for other reasons than its buttery anal sex — it still screens theatrically in revivals and festivals. But ask any random person on the street what they remember, and most are sure to mention the sex scenes before talking of Bertolucci’s direction or Brando’s performance. Havoc (2005) I love the non-fiction work of Barbara Kopple, and I believe it possible that Anne Hathaway indeed gives an Oscar-worthy performance in her latest film, Rachel Getting Married, but neither woman’s talent is fully utilized with this movie, which also features a script written by Oscar-winner Stephen Gaghan. I will always think of this movie as an unfortunate hiccup in the careers of these three individuals, but I will mostly remember it, as will most people, for featuring Hathaway’s first topless sex scenes. A History of Violence (2005) Personally, my first recall is the graphic violence. The second thing I remember — more fondly, in fact — is William Hurt’s cartoonish yet canny performance. The sex scene on the stairs might not even be in the top five things that made Cronenberg’s film memorable for me, but I promise you there are guys who primarily think positively of A History of Violence for that moment. I even know some of them. Fat Girl (2001) Almost as dauntingly memorable as actually waking up to people having sex in the room you’re sleeping in, the infamous scene depicting such an event in Catherine Breillat’s film is likely the first thing you remember. And it probably doesn’t help your memory that the scene is significant enough to have spawned Breillat’s later film Sex is Comedy, which is basically about the difficulty of filming the Fat Girl scene (as seen in the above clip). Talk to Her (2002) With this film, I don’t mind that it’s a sex scene that I primarily recall, because it’s a scene that I think is extremely clever and surprisingly well-executed. No, I’m not referring to the part where Benigno (Javier Camara) rapes the comatose Alicia (Leonor Watling); I mean the black and white dream sequence in which a miniature Fele Martinez completely enters a large, constructed setpiece representing Paz Vega’s vagina. Team America: World Police (2004) There are plenty of side-splitting moments in this movie, but who walked away with anything sticking in their mind as solidly as the overlong sex sequence? The Hunger (1983) I could never remember if I’d seen this film or not when I was a kid. It’s one of those films that even if you haven’t seen the whole thing, you’re probably at least familiar with a specific, iconic scene. Here it’s definitely the lesbian sex scene between Susan Sarandon and Catherine Deneuve. Requiem for a Dream (2000) I wish that the “ass to ass” line wasn’t the most memorable thing about this film. It certainly isn’t my favorite part, just the one part that forcefully sticks out above all others. Hounddog (2007) Though it hasn’t even been released to theaters yet, this 2007 Sundance selection will forever be known and remembered as the Dakota Fanning rape movie. It’s possible that the scene could also be considered a “movie sold on a sex scene,” because some curious moviegoers will go see it, secretly or not, for the infamous and controversial scene. But I don’t want to think of those people who actually want to see a movie because they want to see Dakota Fanning raped, whether for pleasure or intrigue. Originally posted on:SpoutBlog
]]>Thu, 11 Sep 2008 16:00:32 GMTSpoutBlogSpoutBlog on spout.com9/11/2008 12:00:32 PM Due to the unsurprising popularity of our “10 Movies Sold on a Sex Scene” list a few weeks back, I’ve decided to unleash a sequel. However, catering to both Spoutblog’s traffic and the interests of ever-abundant sex-attracted internetters is only half my reason for this follow-up list. I was mainly motivated by the outcome of the release of Woody Allen’s Vicky Cristina Barcelona, a film that also initially inspired the first list. While Vicky was partly sold on the promise of a threesome between Scarlett Johansson, Javier Bardem and Penelope Cruz, it is now fortunately being celebrated, and it will likely be remembered, primarily for Cruz’s performance. Not for the threesome or for the lesbian kiss. Other movies sold on a sex scene, though, are not typically so blessed with accolades. And even some that are recognized with high praise at time of release are often later forgotten as anything but fodder for MrSkin and other followers of onscreen sex and nudity. Obviously this means that most of my selections for the previous list may also qualify here, yet I’ve chosen to ignore some certainly fitting titles, including The Brown Bunny and 9 1/2 Weeks, so as not to repeat myself. Basic Instinct (1992) This was left off the earlier list, though I had originally planned on including it. Now that I’ve decided to do this follow-up, I’m positive that it fits better here. Many people undoubtedly went to see Paul Verhoeven’s erotic thriller more for the eroticism than the thrills, but that can’t be the case for every moviegoer who helped make the film a smash hit. There are plenty of erotic thrillers out there, but only one grossed more than $350 million (Fatal Attraction, which earned more than Basic Instinct domestically, came close). Could it be that the film is actually good? Plenty of respectable critics thought so, including Janet Maslin and Jonathan Rosenbaum, both of whom praised the Hitchcock influence. However, it’s easy to now remember the film primarily for the infamous Sharon Stone upskirt shot, which I deem qualifiable as a sex scene due to the way Stone’s character seems to have sort of psychological intercourse with her interrogators. Last Tango in Paris (1972) Here we have another mostly well-reviewed film that is possibly only still in the public consciousness due to its controversial sex scenes. That isn’t to say the critics and cinephiles don’t still appreciate it for other reasons than its buttery anal sex — it still screens theatrically in revivals and festivals. But ask any random person on the street what they remember, and most are sure to mention the sex scenes before talking of Bertolucci’s direction or Brando’s performance. Havoc (2005) I love the non-fiction work of Barbara Kopple, and I believe it possible that Anne Hathaway indeed gives an Oscar-worthy performance in her latest film, Rachel Getting Married, but neither woman’s talent is fully utilized with this movie, which also features a script written by Oscar-winner Stephen Gaghan. I will always think of this movie as an unfortunate hiccup in the careers of these three individuals, but I will mostly remember it, as will most people, for featuring Hathaway’s first topless sex scenes. A History of Violence (2005) Personally, my first recall is the graphic violence. The second thing I remember — more fondly, in fact — is William Hurt’s cartoonish yet canny performance. The sex scene on the stairs might not even be in the top five things that made Cronenberg’s film memorable for me, but I promise you there are guys who primarily think positively of A History of Violence for that moment. I even know some of them. Fat Girl (2001) Almost as dauntingly memorable as actually waking up to people having sex in the room you’re sleeping in, the infamous scene depicting such an event in Catherine Breillat’s film is likely the first thing you remember. And it probably doesn’t help your memory that the scene is significant enough to have spawned Breillat’s later film Sex is Comedy, which is basically about the difficulty of filming the Fat Girl scene (as seen in the above clip). Talk to Her (2002) With this film, I don’t mind that it’s a sex scene that I primarily recall, because it’s a scene that I think is extremely clever and surprisingly well-executed. No, I’m not referring to the part where Benigno (Javier Camara) rapes the comatose Alicia (Leonor Watling); I mean the black and white dream sequence in which a miniature Fele Martinez completely enters a large, constructed setpiece representing Paz Vega’s vagina. Team America: World Police (2004) There are plenty of side-splitting moments in this movie, but who walked away with anything sticking in their mind as solidly as the overlong sex sequence? The Hunger (1983) I could never remember if I’d seen this film or not when I was a kid. It’s one of those films that even if you haven’t seen the whole thing, you’re probably at least familiar with a specific, iconic scene. Here it’s definitely the lesbian sex scene between Susan Sarandon and Catherine Deneuve. Requiem for a Dream (2000) I wish that the “ass to ass” line wasn’t the most memorable thing about this film. It certainly isn’t my favorite part, just the one part that forcefully sticks out above all others. Hounddog (2007) Though it hasn’t even been released to theaters yet, this 2007 Sundance selection will forever be known and remembered as the Dakota Fanning rape movie. It’s possible that the scene could also be considered a “movie sold on a sex scene,” because some curious moviegoers will go see it, secretly or not, for the infamous and controversial scene. But I don’t want to think of those people who actually want to see a movie because they want to see Dakota Fanning raped, whether for pleasure or intrigue. Originally posted on:SpoutBlog http://www.spout.com/blogs/spoutblog/archive/2008/8/14/34014.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 8/14/2008 5:02:21 PM
Body: There apparently are other reasons to see Woody Allen’s Vicky Cristina Barcelona besides the infamous lesbian kiss between Scarlett Johansson and Penélope Cruz or the threesome between these actresses and Javier Bardem. But as the first things most of us heard about the movie, the sex scenes are certainly a big sell (the ménage à trois is even being used in a promotional contest to win a “threesome” with ScarJo). Even if they’re reportedly underwhelming. Promise of tantalizing footage has been an appeal for moviegoers likely since the dawn of cinema, with film pioneer Eadweard Muybridge’s The Human Figure in Motion - Descending Stairs and Turning Around featuring nudity as far back as the 1880s. And if you’ve seen any of the titles included in today’s list, chances are their respective sex scenes were at least part of what made you buy a ticket (or rent the video). The Brown Bunny (2003) - As if this was the first feature film to show an actual blowjob. Yet the promise of seeing starlet Chloë Sevigny with a mouthful of Vincent Gallo was a huge tool in the marketing of this otherwise artfully shot but depressing movie, an ultimately disappointing follow up to Gallo’s highly enjoyable debut, Buffalo ‘66. Though the trailer above is quite tasteful, American ads for the film exploiting the fellatio sequence include a questionable billboard in Los Angeles and a theatrical spot that simply labeled it “the most controversial American film ever made” and spotlighted that it is for adults only. Too bad it was made in the era of internet porn and so wasn’t nearly as profitable as the blowjob blockbuster Deep Throat. 9 ½ Weeks (1986) - Here is the first of many films on this list that I haven’t actually seen. I guess sex just doesn’t sell me on a film like it does other people. Having such a detachment, though, makes it clearer for me to see how effective most of these sex scenes were, since I have no idea what this movie is about, yet I am sufficiently familiar with the scene involving ice cubes — though I think I’ve really only seen as much as is shown in the trailer above (the fuller, better quality version can be see here), as well as the parody in Hot Shots! I was only 8½ when 9 ½ Weeks came out, and I remember then hearing about the allure of the sex scenes. 22 years later, I still haven’t heard of any other reason to see it. Wild Things (1998) - A decade before ScarJo and PenCruz locked lips for Vicky Cristina Barcelona, this movie was sold on the prospect of seeing lesbian action between Denise Richards and Neve Campbell, who also participate in a threesome with Matt Dillon. Again, the trailer above doesn’t do a good job of exploiting the sex scenes, but fortunately word got out about them and the movie became fairly successful. Similar movies that likely attracted some audiences due solely to the inclusion of lesbian scenes include Bound, Mulholland Dr. and, forty years ago, The Killing of Sister George. Traffic in Souls (1913) - Going back almost a century, this film was one of the first features to be sold for its “sex scenes”, according to the comprehensive (53 page) “Sex in Cinema” guide at FilmSite.org. Historically, it was the first American feature-length sex film, the most expensive production of its time, the greatest moneymaker of its time and, well, there might never have been a Universal Pictures without its being a success for Carl Laemmle and his Independent Motion Picture Company. For those of you disappointed that the film lacks actual nudity, check out this clip from Lois Weber’s 1915 feature Hypocrites, which does contain a completely naked woman prancing around a forest and therefore had a very controversial release. Monika: Story of a Bad Girl (1953)- Kroger Babb, which also had one of the highest grossing films of the ’40s (Mom and Dad) thanks to promises like “EVERYTHING SHOWN!”, distributed this American version of Ingmar Bergman’s Summer with Monika, which was cut down, dubbed and re-scored and marketed solely on the appeal of its nudity and single love scene. American Pie - It may not be a sexy sex scene, but there’s no denying that the love act shared by Jason Biggs and a pie was a draw for audiences hungry for gross out humor. Never mind the scene’s inclusion in the trailer or the poster with the poked-in pie featured prominently, the title alone alludes to the act. Emmanuelle (1974) - I grew up always thinking that the Emmanuelle series of films were simply famous pornos, like Deep Throat or the Debbie Does …. franchise. But that’s probably because it has spawned so many ripoffs and has become synonymous with erotic films. Plus, in my lifetime, softcore movies have been more associated with late night Cinemax (or Skinamax) and straight-to-video titles. I would have never guessed that this was one of France’s highest grossing films of all time nor that film critics such as Roger Ebert paid it attention let alone gave it a good review. But at its time, it must have been very appealing to have so much nudity and so many sex scenes without displaying hardcore penetration. Or, as Ebert wrote: “It’s a relief to see a movie that drops the gynecology and returns to a certain amount of sexy sophistication.” Caligula - Of course, there was also this big-budget, mainstream Hollywood production, to which Ebert gave zero stars and admitted walking out of. He even included a quote from a fellow moviegoer: “‘This movie,’ said the lady in front of me at the drinking fountain, ‘is the worst piece of shit I have ever seen.’” Produced by Penthouse publisher Bob Guccione and starring highly respectable British actors such as John Gielgud, Peter O’Toole and Helen Mirren, the epic period piece was certainly expected to cash in on the popularity of erotic films in the ’70s. Ebert, one more time: “I assume that the crowds lining up for admission to the Davis Theater were hoping for some sort of erotic experience; I doubt that they were spending $15 a couple for a lesson on the ancient history of Rome.” The Crying Game - Possibly the only movie marketed for a sex scene that wasn’t marketed for being a sex scene. Instead, the shocking moment when a seemingly heterosexual love scene is revealed to in fact be a homosexual love scene was famously employed in marketing the secret plot twist that comes with it. Lust, Caution - It’s possible that selling the explicit (and allegedly real) sex scenes in this Ang Lee film hurt it, because the well-publicized embrace of its NC-17 rating made the film seem like these scenes were the main reason to go see it. Never mind the awards the film received or the fair amount of positive reviews. Looking at its dismal $4.6 million U.S. gross, it’s apparent that sex is not as big a sell as it once was. Originally posted on:SpoutBlog
]]>Thu, 14 Aug 2008 21:02:21 GMTSpoutBlogSpoutBlog on spout.com8/14/2008 5:02:21 PM There apparently are other reasons to see Woody Allen’s Vicky Cristina Barcelona besides the infamous lesbian kiss between Scarlett Johansson and Penélope Cruz or the threesome between these actresses and Javier Bardem. But as the first things most of us heard about the movie, the sex scenes are certainly a big sell (the ménage à trois is even being used in a promotional contest to win a “threesome” with ScarJo). Even if they’re reportedly underwhelming. Promise of tantalizing footage has been an appeal for moviegoers likely since the dawn of cinema, with film pioneer Eadweard Muybridge’s The Human Figure in Motion - Descending Stairs and Turning Around featuring nudity as far back as the 1880s. And if you’ve seen any of the titles included in today’s list, chances are their respective sex scenes were at least part of what made you buy a ticket (or rent the video). The Brown Bunny (2003) - As if this was the first feature film to show an actual blowjob. Yet the promise of seeing starlet Chloë Sevigny with a mouthful of Vincent Gallo was a huge tool in the marketing of this otherwise artfully shot but depressing movie, an ultimately disappointing follow up to Gallo’s highly enjoyable debut, Buffalo ‘66. Though the trailer above is quite tasteful, American ads for the film exploiting the fellatio sequence include a questionable billboard in Los Angeles and a theatrical spot that simply labeled it “the most controversial American film ever made” and spotlighted that it is for adults only. Too bad it was made in the era of internet porn and so wasn’t nearly as profitable as the blowjob blockbuster Deep Throat. 9 ½ Weeks (1986) - Here is the first of many films on this list that I haven’t actually seen. I guess sex just doesn’t sell me on a film like it does other people. Having such a detachment, though, makes it clearer for me to see how effective most of these sex scenes were, since I have no idea what this movie is about, yet I am sufficiently familiar with the scene involving ice cubes — though I think I’ve really only seen as much as is shown in the trailer above (the fuller, better quality version can be see here), as well as the parody in Hot Shots! I was only 8½ when 9 ½ Weeks came out, and I remember then hearing about the allure of the sex scenes. 22 years later, I still haven’t heard of any other reason to see it. Wild Things (1998) - A decade before ScarJo and PenCruz locked lips for Vicky Cristina Barcelona, this movie was sold on the prospect of seeing lesbian action between Denise Richards and Neve Campbell, who also participate in a threesome with Matt Dillon. Again, the trailer above doesn’t do a good job of exploiting the sex scenes, but fortunately word got out about them and the movie became fairly successful. Similar movies that likely attracted some audiences due solely to the inclusion of lesbian scenes include Bound, Mulholland Dr. and, forty years ago, The Killing of Sister George. Traffic in Souls (1913) - Going back almost a century, this film was one of the first features to be sold for its “sex scenes”, according to the comprehensive (53 page) “Sex in Cinema” guide at FilmSite.org. Historically, it was the first American feature-length sex film, the most expensive production of its time, the greatest moneymaker of its time and, well, there might never have been a Universal Pictures without its being a success for Carl Laemmle and his Independent Motion Picture Company. For those of you disappointed that the film lacks actual nudity, check out this clip from Lois Weber’s 1915 feature Hypocrites, which does contain a completely naked woman prancing around a forest and therefore had a very controversial release. Monika: Story of a Bad Girl (1953)- Kroger Babb, which also had one of the highest grossing films of the ’40s (Mom and Dad) thanks to promises like “EVERYTHING SHOWN!”, distributed this American version of Ingmar Bergman’s Summer with Monika, which was cut down, dubbed and re-scored and marketed solely on the appeal of its nudity and single love scene. American Pie - It may not be a sexy sex scene, but there’s no denying that the love act shared by Jason Biggs and a pie was a draw for audiences hungry for gross out humor. Never mind the scene’s inclusion in the trailer or the poster with the poked-in pie featured prominently, the title alone alludes to the act. Emmanuelle (1974) - I grew up always thinking that the Emmanuelle series of films were simply famous pornos, like Deep Throat or the Debbie Does …. franchise. But that’s probably because it has spawned so many ripoffs and has become synonymous with erotic films. Plus, in my lifetime, softcore movies have been more associated with late night Cinemax (or Skinamax) and straight-to-video titles. I would have never guessed that this was one of France’s highest grossing films of all time nor that film critics such as Roger Ebert paid it attention let alone gave it a good review. But at its time, it must have been very appealing to have so much nudity and so many sex scenes without displaying hardcore penetration. Or, as Ebert wrote: “It’s a relief to see a movie that drops the gynecology and returns to a certain amount of sexy sophistication.” Caligula - Of course, there was also this big-budget, mainstream Hollywood production, to which Ebert gave zero stars and admitted walking out of. He even included a quote from a fellow moviegoer: “‘This movie,’ said the lady in front of me at the drinking fountain, ‘is the worst piece of shit I have ever seen.’” Produced by Penthouse publisher Bob Guccione and starring highly respectable British actors such as John Gielgud, Peter O’Toole and Helen Mirren, the epic period piece was certainly expected to cash in on the popularity of erotic films in the ’70s. Ebert, one more time: “I assume that the crowds lining up for admission to the Davis Theater were hoping for some sort of erotic experience; I doubt that they were spending $15 a couple for a lesson on the ancient history of Rome.” The Crying Game - Possibly the only movie marketed for a sex scene that wasn’t marketed for being a sex scene. Instead, the shocking moment when a seemingly heterosexual love scene is revealed to in fact be a homosexual love scene was famously employed in marketing the secret plot twist that comes with it. Lust, Caution - It’s possible that selling the explicit (and allegedly real) sex scenes in this Ang Lee film hurt it, because the well-publicized embrace of its NC-17 rating made the film seem like these scenes were the main reason to go see it. Never mind the awards the film received or the fair amount of positive reviews. Looking at its dismal $4.6 million U.S. gross, it’s apparent that sex is not as big a sell as it once was. Originally posted on:SpoutBlog http://www.spout.com/groups/Viewing_with_a_purpose/Re_Latest_unknown_fave/288/17765/1/ShowPost.aspx Post By: Puhnner
Post To: Viewing with a purpose
Post Date: 8/10/2007 8:16:52 AM
Body: I have not seen The Brown Bunny yet, but heard mixed reviews about it; it had an extremely short and limited showing here in the duke city and I missed it. But I read some articles about Gallo and the motorcycle and how he built/worked on it ( was it a Ducati??? Lyle Lovett races around on those too) and worked with all these extremely toxic chemicals; . I also heard his interviews are pretty darn interesting. I watched Truth or Consequences NM about a month ago, and that was pretty good although you could see the ending coming from practically half way around the world, interestingly enough Gallo's girlfriend in Palookaville, Kim Dickens, played his girlfriend in T&C too ( were those 2 hooked up during that time?). Ah Buffalo '66, I watch that about 3 times a year. God, I love that one. I have also seen him in some minor roles that I cannot remember now, but there is just something about him that I find extremely watchable. I love Gazarra in that, and well hell, anything. He aways seems to have the expression of a constipated fellow in the midst of the biggest dump of his life.on another note, the directors commentary in The Thing; with Carpenter and Russel just sitting around relaxed and jawing about the film, is really wonderful; I thought I heard Carpenter puffing away on a cigar during.
]]>Fri, 10 Aug 2007 12:16:52 GMTPuhnnerViewing with a purpose8/10/2007 8:16:52 AMI have not seen The Brown Bunny yet, but heard mixed reviews about it; it had an extremely short and limited showing here in the duke city and I missed it. But I read some articles about Gallo and the motorcycle and how he built/worked on it ( was it a Ducati??? Lyle Lovett races around on those too) and worked with all these extremely toxic chemicals; . I also heard his interviews are pretty darn interesting. I watched Truth or Consequences NM about a month ago, and that was pretty good although you could see the ending coming from practically half way around the world, interestingly enough Gallo&#39;s girlfriend in Palookaville, Kim Dickens, played his girlfriend in T&amp;C too ( were those 2 hooked up during that time?). Ah Buffalo &#39;66, I watch that about 3 times a year. God, I love that one. I have also seen him in some minor roles that I cannot remember now, but there is just something about him that I find extremely watchable. I love Gazarra in that, and well hell, anything. He aways seems to have the expression of a constipated fellow in the midst of the biggest dump of his life.on another note, the directors commentary in The Thing; with Carpenter and Russel just sitting around relaxed and jawing about the film, is really wonderful; I thought I heard Carpenter puffing away on a cigar during. http://www.spout.com/blogs/analogzombie/archive/2007/7/13/14036.aspx Post By: analogzombie
Post To: analogzombie Blog
Post Date: 7/13/2007 8:29:00 PM
Body: For all the vehement hate that Vincent Gallo has been generating among film critics who find him talentless, and hipsters who think him overly pretentious (check your wes anderson collection), I half expected The Brown Bunny to be nothing more than the oft-talked about Chloe/Vincnet blowjob scene.I liked this movie, a lot. A lot, a lot, and I don't see what the hate is all about. Probably, like most similar situations, its been propagated by people who haven't actually seen the movie. Now I'm not saying Gallo has created a masterpiece, but he has certainly made something engaging and worth seeing.Gallo plays Bud Clay, a low level motorcycle racer who is traveling from the east coast back to Los Angeles after a race. Bud is haunted by Daisy, the love of his life, who he shares a house with back home. It's evident from the beginning that something is not right between them as Bud is drawn, over the course of his journey, to several women. Each of whom shares some characteristic in common with Daisy. As desperate as Bud is to connect with this women, and thereby a part of Daisy, he cannot. After a brief meeting, and exhange of tenderness he abruptly cuts and runs form these ladies, as if some nagging guilt connected with Daisy pulls him away.Once back in LA Bud attempts, once again, to connect with Daisy, this time the real one. Even as they finally begin to root out their underlying issues Bud cannot bring himself to forgive her for her indescretions. Nor can he absolve himself for his own part.The Brown Bunny is about a man running to and away from an epoch in his life. Clinging desperately to the one person he loves, and has wronged. This is a vastly underrated film.
]]>Sat, 14 Jul 2007 00:29:00 GMTanalogzombieanalogzombie Blog7/13/2007 8:29:00 PMFor all the vehement hate that Vincent Gallo has been generating among film critics who find him talentless, and hipsters who think him overly pretentious (check your wes anderson collection), I half expected The Brown Bunny to be nothing more than the oft-talked about Chloe/Vincnet blowjob scene.I liked this movie, a lot. A lot, a lot, and I don&#39;t see what the hate is all about. Probably, like most similar situations, its been propagated by people who haven&#39;t actually seen the movie. Now I&#39;m not saying Gallo has created a masterpiece, but he has certainly made something engaging and worth seeing.Gallo plays Bud Clay, a low level motorcycle racer who is traveling from the east coast back to Los Angeles after a race. Bud is haunted by Daisy, the love of his life, who he shares a house with back home. It&#39;s evident from the beginning that something is not right between them as Bud is drawn, over the course of his journey, to several women. Each of whom shares some characteristic in common with Daisy. As desperate as Bud is to connect with this women, and thereby a part of Daisy, he cannot. After a brief meeting, and exhange of tenderness he abruptly cuts and runs form these ladies, as if some nagging guilt connected with Daisy pulls him away.Once back in LA Bud attempts, once again, to connect with Daisy, this time the real one. Even as they finally begin to root out their underlying issues Bud cannot bring himself to forgive her for her indescretions. Nor can he absolve himself for his own part.The Brown Bunny is about a man running to and away from an epoch in his life. Clinging desperately to the one person he loves, and has wronged. This is a vastly underrated film. http://www.spout.com/blogs/moviebabe/archive/2007/7/6/13289.aspx Post By: MovieBabe
Post To: MovieBabe Blog
Post Date: 7/6/2007 8:06:00 PM
Body: By Tricia Olszewski Misery, of course, not only loves company, but also is conveniently portable. That Vincent Gallo understands this much is clear: His much-maligned second feature, The Brown Bunny, takes the dolor of his semiautobiographical first, Buffalo ’66, on the road. Re-edited and shaved of nearly 30 minutes after its disastrous Cannes screening last year, Bunny is, believe it or not, poetic and devastating, its dreamy open highways even more suffocating than the beaten-down streets of the filmmaker’s hometown. Both of Gallo’s projects have been criticized as narcissistic—indeed, The Brown Bunny’s first credit practically screams that it was “written directed edited and produced” by him, and he also stars—but his cinematic alter egos are such sorry wretches, it’s hard to accuse the man of being vain. The Brown Bunny tells the story of Bud Clay (Gallo), a motorcyclist and broken heart who’s driving cross-country to a race in California. Bud somewhat ludicrously seduces and then abandons a series of women during these travels—some young thing (Anna Vareschi) at a gas station with whom he pleads to come with him; a melancholy vision at a rest-stop picnic table (Cheryl Tiegs) whom he wordlessly consoles with kisses. Flashbacks hint at a recent romantic loss, however, which makes his five-day trip something more than an extended smoochfest: The journey is simultaneously sunny and dark, full of quiet but not peace, with infatuation but not love. With blue eyes that peek through his disheveled hair and the merest hint of lanky musculature under his T-shirt and jeans, Bud seems to be living in the saddest Calvin Klein ad ever. Early on, Bud stops at the working-class home of some former neighbors, the now-elderly parents of an old flame. Nearly Lynchian, the scene is one of many examples of Gallo’s ability to gut you with awkwardness and pity: As a decrepit old man sits silently at one end of a kitchen table that might as well be in another world, Bud tries to get the frail red-haired mother (Mary Morasky) of his ex, Daisy (Chloë Sevigny), to remember him. Long silences dominate the squirm-inducing encounter, hanging especially heavy after Mom’s early, aching statement about her daughter: “I haven’t heard from her—she hasn’t called. I don’t know why she hasn’t called. I wish I knew why.” The whole of The Brown Bunny is similarly spare and silent. With shots frequently positioned inside Bud’s van, trained on either the road or his far-off expression, you feel as if you’re taking the road trip with him, but this is one emphatically solo traveler: Dialogue is nearly nonexistent, and when Bud does speak, his utterances are almost unbearably lost-sounding. Gallo’s creepy, quiet magnetism morphs into a childlike vulnerability whenever Bud interacts with someone, from his crack-voiced “Please? Please? Please come with me?” to the gas-station girl, to his pathetically hopeful alert to a hotel’s front-desk clerk that Daisy might call or drop by, to a conversation with her in which he expresses his love with “I liked you the most my whole life. You’re the only person I liked.” Infamously, the auteur’s supposed self-indulgence comes quite literally to a head near The Brown Bunny’s end. Out of context, Sevigny’s unsimulated oral-sex performance certainly smacks of director glorification, but anyone who can get beyond the knee-jerk shock of seeing a dick at the local multiplex should be able to acknowledge at least some of the scene’s power. Throughout the film—cinematography, naturally, by Gallo—prettiness serves to heighten Bud’s sense of loneliness and dislocation. Here, however, a soft-lighting coupling would have failed to underscore the pain of his and Daisy’s reunion. Instead, the act is messy and real and tinged with resentfulness, and it’s only postclimax that we discover why the two are apart. Gallo’s buildup to this moment yields a payoff so devastating, you’d have to be heartless to begrudge him a little stroking, ego- or otherwise. Writer-director Enid Zentelis also loads plenty of misery into Evergreen, her feature debut, but the end-of-film pile-on is a bit more difficult to swallow. What begins as a hard-luck story of a struggling young mother and her embarrassed teenager eventually turns into melodrama as the bit players reveal their own dysfunctions in a lame attempt to show us how good Mom and daughter have it after all. When Evergreen begins, Kate (Cara Seymour) is telling Henri (Addie Land) that their impending move to Grandma’s shack is only temporary, so she can work and save up to start a new life for them. Soon, they’re sharing a mattress in a leaky bedroom on the outskirts of some Pacific Northwest Nowheresville as Kate’s mother (Lynn Cohen) watches game shows on TV. Kate gets a job at the town’s makeup factory, and Henri settles into a new school, where she meets rich kid Chat Turly (Noah Fleiss). Though Chat offers her rides home in his new SUV, Henri has him drop her off in town, too mortified to admit where she lives. Henri is also ashamed of her single, working-class mother, so when she meets Susan (Mary Kay Place) and Frank (Bruce Davison), Chat’s chipper parents, she lies when they ask what her parents do: Mom is a “beauty expert,” and her new boyfriend, a Native American casino worker (Gary Farmer) who’s built his own wheels, stands in as Henri’s “car expert” dad. Henri quickly becomes enamored with the Turlys’ luxe living quarters, fancy dinners, and shit-eating niceness, and as Kate tries to turn disciplinarian and nags Henri to find a job, too, the girl starts spending all her time with the seemingly happy family. Though the stress of Kate and Henri’s new lifestyle and the tension in their relationship feel genuine, Zentelis’ unsubtle introduction of other conflicts does not. Grandma, who in an early scene seemed to be the kind of lonely old lady who aches every time a member of her family walks out the door, turns out to be an intolerant hothead, at one point hissing to Kate’s boyfriend, “I am from independent country of Latvia!” and then asking him in ridiculous broken English, “Are you type of guy who ever hit women and children?” Smiley Susan also has a secret side, one that’s foreshadowed with only the mildest of hints before it’s revealed with a laughable smack: She sits at the computer and—da-da-dum!—calls up a self-help Web site on her own particular problem. Now we understand why Frank goes out and gets drunk every night. It’s while witnessing a thrashing, screaming, crying confrontation between perfect husband and perfect wife that Henri learns a Valuable Lesson—though, to be fair, watching Davison go batshit after his smug, if dead-on, performance is rather fun. Evergreen’s acting, in fact, is its only uniform aspect, with Seymour, Land, Place, and Farmer all joining Davison in convincingly inhabiting their characters. In other respects, however, Zentelis’ small movie is too inconsistent to recommend: Her dialogue may be natural between parent and child, but it clunks whenever a couple of teenagers (or Grandma) are around, and the details of storytelling are sprinkled disproportionately—we know all about the Turlys, for example, but we never learn where Henri’s father is or why Kate is in her current fix. Evergreen’s press kit rather embarrassingly describes the narrative arc as Henri and her mother “looking down a road that turns bad instead of right,” which, come to think of it, probably isn’t really so wrong.
]]>Sat, 07 Jul 2007 00:06:00 GMTMovieBabeMovieBabe Blog7/6/2007 8:06:00 PM By Tricia Olszewski Misery, of course, not only loves company, but also is conveniently portable. That Vincent Gallo understands this much is clear: His much-maligned second feature, The Brown Bunny, takes the dolor of his semiautobiographical first, Buffalo &rsquo;66, on the road. Re-edited and shaved of nearly 30 minutes after its disastrous Cannes screening last year, Bunny is, believe it or not, poetic and devastating, its dreamy open highways even more suffocating than the beaten-down streets of the filmmaker&rsquo;s hometown. Both of Gallo&rsquo;s projects have been criticized as narcissistic&mdash;indeed, The Brown Bunny&rsquo;s first credit practically screams that it was &ldquo;written directed edited and produced&rdquo; by him, and he also stars&mdash;but his cinematic alter egos are such sorry wretches, it&rsquo;s hard to accuse the man of being vain. The Brown Bunny tells the story of Bud Clay (Gallo), a motorcyclist and broken heart who&rsquo;s driving cross-country to a race in California. Bud somewhat ludicrously seduces and then abandons a series of women during these travels&mdash;some young thing (Anna Vareschi) at a gas station with whom he pleads to come with him; a melancholy vision at a rest-stop picnic table (Cheryl Tiegs) whom he wordlessly consoles with kisses. Flashbacks hint at a recent romantic loss, however, which makes his five-day trip something more than an extended smoochfest: The journey is simultaneously sunny and dark, full of quiet but not peace, with infatuation but not love. With blue eyes that peek through his disheveled hair and the merest hint of lanky musculature under his T-shirt and jeans, Bud seems to be living in the saddest Calvin Klein ad ever. Early on, Bud stops at the working-class home of some former neighbors, the now-elderly parents of an old flame. Nearly Lynchian, the scene is one of many examples of Gallo&rsquo;s ability to gut you with awkwardness and pity: As a decrepit old man sits silently at one end of a kitchen table that might as well be in another world, Bud tries to get the frail red-haired mother (Mary Morasky) of his ex, Daisy (Chlo&euml; Sevigny), to remember him. Long silences dominate the squirm-inducing encounter, hanging especially heavy after Mom&rsquo;s early, aching statement about her daughter: &ldquo;I haven&rsquo;t heard from her&mdash;she hasn&rsquo;t called. I don&rsquo;t know why she hasn&rsquo;t called. I wish I knew why.&rdquo; The whole of The Brown Bunny is similarly spare and silent. With shots frequently positioned inside Bud&rsquo;s van, trained on either the road or his far-off expression, you feel as if you&rsquo;re taking the road trip with him, but this is one emphatically solo traveler: Dialogue is nearly nonexistent, and when Bud does speak, his utterances are almost unbearably lost-sounding. Gallo&rsquo;s creepy, quiet magnetism morphs into a childlike vulnerability whenever Bud interacts with someone, from his crack-voiced &ldquo;Please? Please? Please come with me?&rdquo; to the gas-station girl, to his pathetically hopeful alert to a hotel&rsquo;s front-desk clerk that Daisy might call or drop by, to a conversation with her in which he expresses his love with &ldquo;I liked you the most my whole life. You&rsquo;re the only person I liked.&rdquo; Infamously, the auteur&rsquo;s supposed self-indulgence comes quite literally to a head near The Brown Bunny&rsquo;s end. Out of context, Sevigny&rsquo;s unsimulated oral-sex performance certainly smacks of director glorification, but anyone who can get beyond the knee-jerk shock of seeing a dick at the local multiplex should be able to acknowledge at least some of the scene&rsquo;s power. Throughout the film&mdash;cinematography, naturally, by Gallo&mdash;prettiness serves to heighten Bud&rsquo;s sense of loneliness and dislocation. Here, however, a soft-lighting coupling would have failed to underscore the pain of his and Daisy&rsquo;s reunion. Instead, the act is messy and real and tinged with resentfulness, and it&rsquo;s only postclimax that we discover why the two are apart. Gallo&rsquo;s buildup to this moment yields a payoff so devastating, you&rsquo;d have to be heartless to begrudge him a little stroking, ego- or otherwise. Writer-director Enid Zentelis also loads plenty of misery into Evergreen, her feature debut, but the end-of-film pile-on is a bit more difficult to swallow. What begins as a hard-luck story of a struggling young mother and her embarrassed teenager eventually turns into melodrama as the bit players reveal their own dysfunctions in a lame attempt to show us how good Mom and daughter have it after all. When Evergreen begins, Kate (Cara Seymour) is telling Henri (Addie Land) that their impending move to Grandma&rsquo;s shack is only temporary, so she can work and save up to start a new life for them. Soon, they&rsquo;re sharing a mattress in a leaky bedroom on the outskirts of some Pacific Northwest Nowheresville as Kate&rsquo;s mother (Lynn Cohen) watches game shows on TV. Kate gets a job at the town&rsquo;s makeup factory, and Henri settles into a new school, where she meets rich kid Chat Turly (Noah Fleiss). Though Chat offers her rides home in his new SUV, Henri has him drop her off in town, too mortified to admit where she lives. Henri is also ashamed of her single, working-class mother, so when she meets Susan (Mary Kay Place) and Frank (Bruce Davison), Chat&rsquo;s chipper parents, she lies when they ask what her parents do: Mom is a &ldquo;beauty expert,&rdquo; and her new boyfriend, a Native American casino worker (Gary Farmer) who&rsquo;s built his own wheels, stands in as Henri&rsquo;s &ldquo;car expert&rdquo; dad. Henri quickly becomes enamored with the Turlys&rsquo; luxe living quarters, fancy dinners, and shit-eating niceness, and as Kate tries to turn disciplinarian and nags Henri to find a job, too, the girl starts spending all her time with the seemingly happy family. Though the stress of Kate and Henri&rsquo;s new lifestyle and the tension in their relationship feel genuine, Zentelis&rsquo; unsubtle introduction of other conflicts does not. Grandma, who in an early scene seemed to be the kind of lonely old lady who aches every time a member of her family walks out the door, turns out to be an intolerant hothead, at one point hissing to Kate&rsquo;s boyfriend, &ldquo;I am from independent country of Latvia!&rdquo; and then asking him in ridiculous broken English, &ldquo;Are you type of guy who ever hit women and children?&rdquo; Smiley Susan also has a secret side, one that&rsquo;s foreshadowed with only the mildest of hints before it&rsquo;s revealed with a laughable smack: She sits at the computer and&mdash;da-da-dum!&mdash;calls up a self-help Web site on her own particular problem. Now we understand why Frank goes out and gets drunk every night. It&rsquo;s while witnessing a thrashing, screaming, crying confrontation between perfect husband and perfect wife that Henri learns a Valuable Lesson&mdash;though, to be fair, watching Davison go batshit after his smug, if dead-on, performance is rather fun. Evergreen&rsquo;s acting, in fact, is its only uniform aspect, with Seymour, Land, Place, and Farmer all joining Davison in convincingly inhabiting their characters. In other respects, however, Zentelis&rsquo; small movie is too inconsistent to recommend: Her dialogue may be natural between parent and child, but it clunks whenever a couple of teenagers (or Grandma) are around, and the details of storytelling are sprinkled disproportionately&mdash;we know all about the Turlys, for example, but we never learn where Henri&rsquo;s father is or why Kate is in her current fix. Evergreen&rsquo;s press kit rather embarrassingly describes the narrative arc as Henri and her mother &ldquo;looking down a road that turns bad instead of right,&rdquo; which, come to think of it, probably isn&rsquo;t really so wrong. http://www.spout.com/blogs/blazesboy/archive/2007/6/12/10865.aspx Post By: blazesboy
Post To: blazesboy Blog
Post Date: 6/12/2007 4:18:49 AM
Body: The blow job and Cannes scorn made it infamous. But Vincent Gallo has created a much more complex, difficult and devastating film than he's been given credit for by...well, almost anyone. Movies do not HAVE to abide by the usual conventions in order to be worth watching; this film, along with, for example, Gus Van Sant's recent work (see Last Days), is experiential rather than traditionally narrative; the viewer must give himself over to the experience of watching rather than rely on the reassurance of plot points appearing on schedule and explicit characterization. That's the difficult part: it's not at all the kind of film most of us are used to seeing, and hurray for that. In this era of remakes, sequels and CGI - not to mention over-hyped "indie" fare like Little Miss Sunshine - it's exhilarating to see something completely different.
]]>Tue, 12 Jun 2007 08:18:49 GMTblazesboyblazesboy Blog6/12/2007 4:18:49 AMThe blow job and Cannes scorn made it infamous. But Vincent Gallo has created a much more complex, difficult and devastating film than he&#39;s been given credit for by...well, almost anyone. Movies do not HAVE to abide by the usual conventions in order to be worth watching; this film, along with, for example, Gus Van Sant&#39;s recent work (see Last Days), is experiential rather than traditionally narrative; the viewer must give himself over to the experience of watching rather than rely on the reassurance of plot points appearing on schedule and explicit characterization. That&#39;s the difficult part: it&#39;s not at all the kind of film most of us are used to seeing, and hurray for that. In this era of remakes, sequels and CGI - not to mention over-hyped &quot;indie&quot; fare like Little Miss Sunshine - it&#39;s exhilarating to see something completely different. http://www.spout.com/blogs/smoothjazzandmore/archive/2007/2/26/5820.aspx Post By: smoothjazzandmore
Post To: smoothjazzandmore Blog
Post Date: 2/26/2007 11:45:49 PM
Body: This is a slow paced, dreary and dull film. For almost an hour, I was trying to figure out who this Bud Clay fellow is and why all these women are talking, or lack of, to a complete stranger. Once he gets to his destination, we see the real reason for this film. By that time, it's too late to even care. Vincent Gallo is a poor filmmaker. His previous effort (Buffalo '66) was in the same vein of work. This, however can be considered pornography! With that thought...Who is the first Academy Award nominated actor/actress to perform actual oral sex on screen? The answer to that question is Chloë Sevigny (Best Supporting Actress Nominee for Boys Don't Cry, 1997). And in this film, nothing is left for the imagination.
]]>Tue, 27 Feb 2007 04:45:49 GMTsmoothjazzandmoresmoothjazzandmore Blog2/26/2007 11:45:49 PMThis is a slow paced, dreary and dull film. For almost an hour, I was trying to figure out who this Bud Clay fellow is and why all these women are talking, or lack of, to a complete stranger. Once he gets to his destination, we see the real reason for this film. By that time, it&#39;s too late to even care. Vincent Gallo is a poor filmmaker. His previous effort (Buffalo &#39;66) was in the same vein of work. This, however can be considered pornography! With that thought...Who is the first Academy Award nominated actor/actress to perform actual oral sex on screen? The answer to that question is Chlo&euml; Sevigny (Best Supporting Actress Nominee for Boys Don&#39;t Cry, 1997). And in this film, nothing is left for the imagination. http://www.spout.com/members/0/tags/sex/MemberTagFilms.aspxsex
Number of films tagged: 2414

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]]>Tue, 30 Oct 2007 21:26:24 GMT2411Tag http://www.spout.com/members/0/tags/loveless/MemberTagFilms.aspxloveless
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