Mike T. (michaelcorleone)

I realize that half the people who see my rating for this film are immediately going to assume that I am either pretentious or clueless. I also personally know specific people who, after watching this movie, would want to have my head for giving it such a high rating. For this reason, I feel obligated to explain my admiration for it. With this piece, Gallo disregards every conventional approach possible, which a lot of people interpret as iconoclastic self-indulgence. I see it as appropriate within the context of this movie, and I think it's a tragically beautiful work in its own right. Functioning as a distant character study in which we know very little about the person being examined, The Brown Bunny asks us to give back a lot. I was willing to give it my complete attention, and I found it to be a haunting and uniquely profound experience. This is one of the saddest films I've seen in a while, and the conclusion will leave a resounding impact on most people. If you're interested in seeing it simply on the basis of the famous blowjob scene, don't bother watching it. This isn't what you're looking for.

When I first viewed this film, I hated it. I thought it was offensive, nasty and unnecessary. I was compelled to watch it again, mainly because I've developed a big liking for Michael Pitt, and I'm very glad that I did. Despite the extremely cinematic presentation of the characters and their dilemmas, there is certainly a tone of brutal honesty here that is scarcely matched. The performances are all magnificent and sensitive. Michael Pitt, in a charismatic and unsettling supporting role, stands out with his manic energy and uniquely intriguing acting style.

Describing the greatness of this film is an impossibility. This is a crime-drama masterpiece, a Shakespearean character study and a cinematic landmark in every sense of the term. This is a tense, intriguing examination of family ties and treachery. This is quite possibly the greatest cast ever compiled - Brando, Pacino, Duvall and Caan are all at the top of their game here. Films like this remind us why we go to the movies. Coppola brings an ideally dark aura to the story, employing the use of underexposed footage and painstakingly perfect pace. Pacino's most understated character work is in this film - he portrays Michael in all the tortured complexity that Puzo wrote him.

This is a more complex and darker film than its predecessor. Gordon Willis' contrasting cinematographic methods for the flashbacks and main story work incredibly, and the screenplay provides us with detailed, vivid characters who are acted to perfection. Although we are distanced emotionally from Michael Corleone in this film, Pacino's performance ensures that we are still fascinated with him. Although Pacino is undoubtedly the stand-out, there is an abundance of remarkable supporting performances here, particularly from John Cazale.