Vincent Gallo
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Filmography
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A wearisome, affected amalgamation of Monte Hellman’s prototypical road movie Two-Lane Blacktop and Todd Louiso’s insufferable mope-fest Love Liza , Gallo’s misfire is a work of staggering dullness that, from its somber opening scene in which Bud loses a motorcycle race, repeatedly foreshadows the futility of the main character’s odyssey toward his desperately desired goal.
Like Monte Hellmanâs sublime Two-Lane Blacktop and Jack Cardiffâs 1968 Alain Delon/Marianne Faithful vehicle Girl on a Motorcycle, The Brown Bunny is, on the face of it, an existential exercise in cross-country motion, a travelogue in which the exteriors are never as important as the interior life of the main character, who in this case is Galloâs Bud Clay.
At first thought, I recall the opening of Vincent Gallo's Buffalo '66 , which ironically exaggerates the hopelessness of post-incarceration by adding a lack of a public restroom to the list of things the former jailbird is without.
(His eyes are as wired-open as Lon Chaney's in The Phantom of the Opera, only Gallo didn't use wires.)
Gosling’s plight reminded me of another film widely renounced at Cannes, Vincent Gallo’s The Brown Bunny .
Then, film critic and Beyond the Valley of the Dolls scribe Roger Ebert named the film the worst movie ever shown at the French fashion show/film festival.
The director barrels down that same metaphorical highway that a stoned Dennis Hopper and Peter Fonda took in 1969's Easy Rider, a film more important for what it wasn't than was.
He appears to have been imitating the low-budget indie films of an earlier era — I did occasionally think of “Easy Rider” — but without the underlying substance those movies usually had.
Then he returns, just as Vincent Gallo did in " The Brown Bunny ," although I doubt this is intended as a homage.
Its opening resembles Vincent Gallo's “ The Brown Bunny ” (2003): a long shot of a vehicle tearing around a track.
It’s a Monte Hellman moment; it’s a Vincent Gallo moment (as in “The Brown Bunny”).
Had director Yann Demange taken a cue from Vincent Gallo (Buffalo ’66) and called his film Belfast ’71, no confusion would be possible.
The lights go down, and Layla does a little surreal slow tap dance that reminded me of the girl in the radiator in David Lynch's Eraserhead.
Gallo, an angular and unshaven man with a haunted look, has acted for offbeat and experimental directors such as Abel Ferrara (" The Funeral "), Bille August ("House of the Spirits"), Mika Kaurismaki ("L.A. Without a Map"), Emir Kusturica (" Arizona Dream "), Claire Denis ("Nenette and Boni"), Mira Nair (" The Perez Family ") and Kiefer Sutherland ("Truth or Consequences, N.M.").
"Buffalo '66" is the first movie directed by Vincent Gallo, a painter, former Calvin Klein model and actor in such films as "Truth or Consequences," "Arizona Dream" and "The Funeral."
Gallo was an actor in interesting films like Arizona Dream and Abel Ferrara's The Funeral.
Gallo, an angular and unshaven man with a haunted look, has acted for offbeat and experimental directors such as Abel Ferrara (" The Funeral "), Bille August ("House of the Spirits"), Mika Kaurismaki ("L.A. Without a Map"), Emir Kusturica (" Arizona Dream "), Claire Denis ("Nenette and Boni"), Mira Nair (" The Perez Family ") and Kiefer Sutherland ("Truth or Consequences, N.M.").
Gallo was an actor in interesting films like Arizona Dream and Abel Ferrara's The Funeral.
Intense, pale, gaunt with haunting light blue eyes, Gallo has been a vivid presence in a number of films, including Abel Ferrera's "The Funeral," a period gangster picture in which he played Mafioso Christopher Walken's fiery, idealistic younger brother.
Liberal Arts (2012)
Directed by Josh Radnor
influenced by Buffalo '66 (1998), The Brown Bunny (2003)
Like Vincent Gallo ("Buffalo '66," "The Brown Bunny"), Radnor writes, directs and stars in his films.
Like Vincent Gallo ("Buffalo '66," "The Brown Bunny"), Radnor writes, directs and stars in his films.
And although the ex-con eventually pledges to assassinate the Buffalo Bills placekicker-turned-strip-club-owner whose missed field-goal indirectly caused his jail term (thus completing the film's comic riff on Taxi Driver), Gallo gives Billy the body language of someone who's also extremely vulnerable--whether curled atop a cold bench in the fetal position or lying perfectly stiff on a hotel bed like an interred mummy.
Gallo plays Billy like a low-rent Travis Bickle from Taxi Driver, repeating lines again and again, "what did I say?
It can’t be coincidence that the Lovelace cast includes two actors who had their own sordid screen sexploits: Stone’s notorious money shot in Basic Instinct and Chloë Sevigny’s infamous oral sex scene in The Brown Bunny.
Gallo, an angular and unshaven man with a haunted look, has acted for offbeat and experimental directors such as Abel Ferrara (" The Funeral "), Bille August ("House of the Spirits"), Mika Kaurismaki ("L.A. Without a Map"), Emir Kusturica (" Arizona Dream "), Claire Denis ("Nenette and Boni"), Mira Nair (" The Perez Family ") and Kiefer Sutherland ("Truth or Consequences, N.M.").
Gallo, an angular and unshaven man with a haunted look, has acted for offbeat and experimental directors such as Abel Ferrara (" The Funeral "), Bille August ("House of the Spirits"), Mika Kaurismaki ("L.A. Without a Map"), Emir Kusturica (" Arizona Dream "), Claire Denis ("Nenette and Boni"), Mira Nair (" The Perez Family ") and Kiefer Sutherland ("Truth or Consequences, N.M.").
Patty invites Simon back to the home where she lives with her blandly oppressive parents Norm and Connie (Pat Healy, Mary Lynn Rajskub) and her tightly wound younger brother Kevin (Griffin Gluck) for a fraught, Buffalo ’66-style family meal.
Silver Linings Playbook (2012)
Directed by David O. Russell
influenced by Buffalo '66 (1998)
Characters
Yet Silver Linings Playbook is pleasing, with vibrant performances from its leads and about a dozen well-sketched characters up and down the ensemble, including Chris Tucker as a cheerful flight risk from the ward, Anupam Kher as Cooper’s outwardly successful but secretly unraveling best friend, and De Niro, who looks as engaged as he’s been in years as Cooper’s father, a superstitious bookie with a love for the Eagles akin to Anjelica Huston’s Buffalo Bills psychosis in Buffalo ’66 .
Gallo portrays his protagonist as a babe magnet with a penchant for women whose names are part of the floral family--teenaged Violet, a hooker named Rose (a union of Rose-Bud for a cinephile allusion to "Citizen Kane")--but he seems distracted, unable to commit--even to quick sex.