The Brown Bunny 2004 123movies

Watch: The Brown Bunny 2003 123movies, Full Movie Online – After racing in New Hampshire, the lonely motorcycle racer Bud Clay drives his van in a five-day journey to California for the next race. Along his trip, he meets fans, a lonely women, and prostitutes, but he leaves them since he is actually pining for the woman he loves, Daisy. He goes to her house and leaves a note telling where he is lodged. Out of the blue, Daisy appears in his hotel room and soon he learns the reason of why he can’t find her..
Plot: Bud Clay races motorcycles in the 250cc Formula II class of road racing. After a race in New Hampshire, he has five days to get to his next race in California. During his road trip, he is haunted by memories of the last time he saw Daisy, his true love.
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Ratings:

	4.9/10 Votes: 15,751
	47% | RottenTomatoes
	51/100 | MetaCritic
	N/A Votes: 177 Popularity: 17.222 | TMDB

Reviews:

The Brown Bunny
Having heard so much about the infamous The Brown Bunny over the years, it was difficult to watch it with a blank mind devoid of expectations when I finally got to see it in the small hours of last night. Ultimately it’s a fairly interesting effort, expectations or not. The plot is very simple: a motorcycle racer named Bud Clay (Vincent Gallo) begins a long cross-country journey in his van to the next racing location in California, all the while being haunted by memories of his former girlfriend Daisy (Chloë Sevigny) who he wishes to meet when arriving in his destination. On his way to her, he also picks up other women only to drop them off soon.

I wasn’t bothered by the long scenes of Gallo silently driving by himself, even though the cramped mise en scène and grainy cinematography make them less easy to enjoy than such scenes in some other movies “where nothing ever happens”. The trembling camera inside the van creates a feel of a documentary, while the more spaciously framed outdoor shots balance the mood with their artistic calmness. The scene of Bud taking his motorcycle out and riding it on a salt desert is especially good-looking and captures a sense of loneliness powerfully.

The very soft dialogue and Bud’s habit of picking up and dropping off women provide hints to the nature of his relationship with Daisy. He also frequently cries by himself – what has happened between him and Daisy? The mystery gets its explanation at the end and the emotional payoff is pretty effective (and I’m not only talking about that one controversial scene but the whole revelation). The famous sex scene fits in the mood and its uncensored nature only adds to the rawness and prevents it from feeling phony.

Ultimately the film is a curious exploration of feelings of guilt, regret, longing and loneliness, and while it’s not as visually stunning and haunting as, say, Gus Van Sant’s Last Days, it certainly doesn’t deserve all the hate it gets. Gallo and Sevigny are both good in their roles and the quiet atmosphere will have its admirers, but I think that some of the driving scenes still feel excessive even after Gallo’s re-cutting of the film after the Cannes Film Festival incident. Perhaps some further trimming of the running time could have enhanced it, but I think The Brown Bunny is a worthwhile piece of cinema as it is now. For audiences who know what to expect, it should provide an enjoyable meditation on the emotional traumas people may encounter in life.

He’s so EDGY man, you should check him out, he makes CINEMA…
Vincent Gallo has a reputation. He makes movies that are for a lack of a better word, different, and as such, they find their way into the thought-o-sphere, where everyone forgets what makes Gallo’s movies different, and the uninitiated walk away with the sense that Gallo makes real art that really is worth seeing, It’s not. I promise you.

As I have seen Buffalo 66, I was prepared for the badly written dialogue and for the inordinately lengthy shots, suggesting, perhaps, that one can reach nirvana by losing one’s self in the contemplation of Vincent Gallo’s brooding forehead. What I was not prepared for was the sheer intensity of Mr. Gallo’s narcissism. Whatever fundamental truth he may think he is conveying drowns with little more than a pathetic whimper, leaving in it’s wake only the understanding that Gallo loves seeing himself on film, and that we should all love seeing him there too.

I get the sense that Gallo thinks he is like Antonioni – a master of capturing mood and the complex emotions of his subjects through minimal dialogue and vivid visual composition. He is not. The effect is that he doesn’t know how to write and can’t think of where to point his camera.

Oh yeah, and the controversy, the other hook to get college students looking for a cinematic rush to rent this crap from Netflix – if a movie is controversial it must be worth seeing right? Despite the desperate attempts to make the audience connect with his character, and to make sex a potent symbol,the climactic scene has the emotional depth of a cheap porno.

This is a bad movie. In every sense of the word. It is poorly written, ineptly acted, and badly directed. Gallo’s only accomplishment is convincing the distributor (and enough of the audience) that it is difficult to watch not because it is bad, but because it is ART.

Other Information:

Original Language en
Runtime 1 hr 33 min (93 min)
Budget 10000000
Revenue 365734
Status Released
Rated Not Rated
Genre Drama
Director Vincent Gallo
Writer Vincent Gallo
Actors Vincent Gallo, Chloë Sevigny, Cheryl Tiegs
Country United States, Japan
Awards 2 wins & 7 nominations
Production Company N/A
Website N/A

Technical Information:

Sound Mix Dolby Digital
Aspect Ratio 1.66 : 1
Camera Aaton A-Minima, Bausch & Lomb Super Baltar and Cooke Lenses, Aaton XTR Prod, Bausch & Lomb Super Baltar, Cooke and Angenieux Lenses
Laboratory FotoKem Laboratory, Burbank (CA), USA
Film Length 2,547 m (Switzerland)
Negative Format 16 mm
Cinematographic Process Super 16
Printed Film Format 35 mm (blow-up)