91/100

Like Zonca's Julia, an improbable triumph in a "genre" I normally despise—here, the sensitive man-child who's saved/redeemed by the unconditional love of a fantasy babe. Both films push their noxious idea to an extreme that's at once comical and disturbing, demanding empathy for a nearly irredeemable protagonist; Gallo opens with a photo of Billy at age seven ("with his dog Bingo"), then proceeds to play the role as if still trapped at that age, with all of a child's destructive narcissism and no cuteness whatsoever. Ultimately, it's Ricci's miraculous performance that makes it work, beginning with the almost preternatural stillness of her extended close-up in the car, as she simply listens to Billy's insane request without making the slightest…

“Just look like we are a married couple, spanning time!”
-Billy Brown (Vincent Gallo)

Buffalo ’66 is the feature debut from Vincent Gallo, who also writes and stars as the lead. I feel I must first admit; I didn’t actually want to like this film. I had heard much about Gallo prior to seeing this (and not all sung his praises.), particularly that he is rather egotistic and self-absorbed, and that he complained about having to do all the work for Christina Ricci (Whom delivers perhaps the best performance of her career here.). As such, I concede that I didn’t exactly go into this with very high hopes. Against all odds, however, this film exceeded my expectations. Despite my predisposition,…

As I stand in line to punch Vincent Gallo in the face, I look back at this movie telling a tale of a broken man finding something to hold on or to just give into his revenge.

Buffalo '66 open with Billy getting out of jail after 5 years serving. He kidnaps Layla, a dancer along the way so he can introduce her as his wife on the lies he told his parents over the course of his term. From the longs shots in the cold as Billy runs from one place to another in search of a bathroom, Bufalo '66 becomes a story that feels about two broken souls meeting each other.

Billy's character is something you will hate,…

A startlingly original debut from Vincent Gallo, who takes the auteur approach of writing, producing, scoring, directing and starring.

Shot on reversal film and with a slightly washed out appearance, it seems out of place. Like a lost gem of seventies independent cinema it has the raw, rough around the edges style of Cassavetes (it even stars Ben Gazzara) or early Scorsese and the framing often bears some resemblance to Ozu, who is slyly name-dropped on a car number plate. Despite these visual comparisons it carves out a very unique and offbeat narrative that combines well orchestrated comedic moments with visceral displays of inner anguish.

I really wasn't sure where it would go with this incredibly obnoxious, narcissistic and downright…

A startlingly original debut from Vincent Gallo, who takes the auteur approach of writing, producing, scoring, directing and starring.

Shot on reversal film and with a slightly washed out appearance, it seems out of place. Like a lost gem of seventies independent cinema it has the raw, rough around the edges style of Cassavetes (it even stars Ben Gazzara) or early Scorsese and the framing often bears some resemblance to Ozu, who is slyly name-dropped on a car number plate. Despite these visual comparisons it carves out a very unique and offbeat narrative that combines well orchestrated comedic moments with visceral displays of inner anguish.

I really wasn't sure where it would go with this incredibly obnoxious, narcissistic and downright…

Shot on 35mm reversal stock. Which is rare, it's notorious to work with, difficult to shoot on, unpredictable to process. Likely the final movie shot in such a way, as the stock is discontinued. A shame, because it's what gives BUFFALO '66 that grimy feel of a lucid dream, a lo-fi magic. Skintones like paper. Murky black, richly vibrant reds, faded blues and pale golds. Written, directed, and scored by Vincent Gallo, this film is the embodiment of independent cinema.

Adding further ethos is the polarity among viewers. Some find the piece narcissistic, misogynist, and bleak. Especially when viewed by today's oppressive lens and perceived knowledge of the artist's bio. Hollywood liberalism condemns Galo's art because he's apparently an asshole…