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Reviews provided by RottenTomatoes
Terry Lawson, Detroit Free Press: A passable, if often dreary, evocation of those '70s road movies in which disillusioned young men (and the occasional woman) took to the highway in search of America, the meaning of things or maybe just a hamburger. Read more
Connie Ogle, Miami Herald: Worthless, a work of colossal self-indulgence that makes you wonder if its creator ever should be allowed to touch a camera again. Read more
Moira MacDonald, Seattle Times: At 20 minutes, The Brown Bunny might be a lovely, '70s-flavored short. But at its current length, the film often feels as if someone set up a camera and then wandered off, forgetting about it. Read more
Michael Wilmington, Chicago Tribune: The kind of fascinatingly bad film only a really gifted and fearless moviemaker could make. Read more
Neva Chonin, San Francisco Chronicle: It's a somber poem of a film sure to frustrate those who prefer resolution to ambiguity. Controversial hype aside, that indeterminacy is its primary draw. Read more
Richard Roeper, Ebert & Roeper: ... too drawn out. Read more
Bob Townsend, Atlanta Journal-Constitution: Much like Bruno Dumont's equally provocative Twentynine Palms, Gallo's peculiarly earnest film ultimately questions the nature of cinema, that continuum of reality and illusion that starts when the theater dims and the screen lights up. Read more
Wesley Morris, Boston Globe: Rarely has narcissism produced such a handsome work of cinema. Read more
Carina Chocano, Los Angeles Times: If you think [Gallo's] a brilliant, satirical cut-up, then The Brown Bunny is an elaborate and successful art prank. If you think he's a pretentious, self-obsessed, tedious weirdo, then The Brown Bunny will back you up 100%. Read more
J. R. Jones, Chicago Reader: Can have a relatively sophisticated visual sense and yet in other respects seem like a teenager's first short story. Read more
Michael Booth, Denver Post: What plays for 80 minutes like an intolerable, self-indulgent road trip largely redeems itself in the last 10 minutes, through a moving explanation of the anti-hero's catatonic depression. Read more
Owen Gleiberman, Entertainment Weekly: Has the rarefied air of a sophomore indulgence, yet Gallo's talent is there in every frame. Read more
Charles Ealy, Dallas Morning News: Narcissisistic, self-indulgent, solipsistic claptrap is still narcissistic, self-indulgent, solipsistic claptrap, no matter how long or short. Read more
Stephen Whitty, Newark Star-Ledger: [Gallo's] treatment here of his star, and his audience, is his rudest insult yet. Read more
Jami Bernard, New York Daily News: Gallo was also director, writer, editor and producer, and the ego inherent in that distracts from every frame of this ugly-looking, windshield-splattered road picture. Read more
Manohla Dargis, New York Times: Neither an atrocity nor a revelation, The Brown Bunny is a very watchable, often beautiful-looking film. Read more
James Berardinelli, ReelViews: It's hard to imagine how anyone could appreciate this movie, with its inane, repetitious, and pause-filled dialogue; non-existent plot; and stillborn character definition. Read more
Roger Ebert, Chicago Sun-Times: The Cannes version was a bad film, but now Gallo's editing has set free the good film inside. Read more
Charles Taylor, Salon.com: Must be one of the truest songs of roadside America that the movies have produced. Read more
David Edelstein, Slate: I don't know that I've ever encountered a filmmaker who wants to be loved so badly on his own wheedling, whiny, abrasive, motherless, misogynistic, and -- last but not least -- non-narrative terms. Read more
Colin Covert, Minneapolis Star Tribune: So mind-numbingly dull it makes you yearn for one of those World War II-spy instant-death pills. Read more
Derek Elley, Variety: A memorable -- if still highly specialized -- exercise in personal, '70s-style American filmmaking, with a cohesive feel and rhythm that marks Gallo as a distinctive indie talent. Read more
J. Hoberman, Village Voice: The Brown Bunny is not simply an exercise. It's genuinely elemental, embarrassingly sincere. Read more
Stephen Hunter, Washington Post: It's not really a movie. I suppose it's what could be called a recorded behavior. Read more
Desson Thomson, Washington Post: Luckily, Sevigny has a promising future before her, and this bizarre little diversion will soon scamper into the wild grass, never to be seen again. Read more