S M
How can a man freshly released from prison kidnap a young woman and convince his family that he has secretly been living a successful life for the past five years? That shouldn’t be possible, yet in Vincent Gallo’s Buffalo ‘66 it seemingly is. Billy Brown (played by Gallo) is a cold and dysfunctional man, who believes he can convince his equally cold and dysfunctional family that Layla (Christina Ricci), a young woman he kidnaps from a dance class, is his wife and that he has been a highly secretive CIA agent for the past five years. In reality, Brown has spent time in prison for a crime he did not commit to pay off debt over a $10,000 bet that the Buffalo Bills would win the Superbowl, a team his mother obsesses over and neglects her son for.
Buffalo ‘66 is a dreamlike drama, reminiscent of Paul Thomas Anderson’s Punch-Drunk Love (2002) and Wim Wender’s Paris, Texas (1984), due to its offbeat romance and melancholic tone. Out of Vincent Gallo’s directorial films, this is by far his most palatable, as well as his most acclaimed. The film lives in a somewhat melodramatic space with emotions driving the film, while surrealism snakes its way in, leaving audiences wondering if everything is simply a dream or a false memory of Billy’s. Gallo took a technical risk shooting the film on 35mm reversal stock, an unstable and now discontinued method, which paid off greatly in capturing the dreamlike quality the film is so notorious for.
When approaching this film, it is crucial to take a critical perspective of the characters. No one can be trusted as reliable, and for many characters, as morally good. No character proves themselves to be likeable either, except for maybe Layla, a fan favourite. Over the course of the film Billy experiences slight character development due to her impression on him, thanks to the classic Manic Pixie Dream Girl trope as emphasised by her famous tap dancing scene.
As for my opinion of Buffalo ‘66, I did quite enjoy it and it is certainly one of the more visually appealing films I have watched in a while. I left feeling inspired by its aesthetics and perhaps slightly in love with Layla, while also deeply frustrated by Billy. Throughout the film he proves himself to be a rather unpleasant person, as illustrated by his uncomfortably long (and homophobic) search for a toilet. We are given few reasons to root for him, in many ways he created the mess he's in, like placing an absurd bet on an unfavourable team to win the Superbowl, the catalyst of the entire film. And yet despite all of this, he seemingly gets away with everything in the end. While a lot of the film remains unclear as to what is a fabrication of his, it is easy to assume that he and Layla end off on a good note, something I personally was not a fan of. My biggest gripe with the film is that things work out for Billy, I do wish that he experienced more punishment for being so damn insufferable. All in all I am glad to have seen the film, because like Billy, I cannot seem to get Layla out of my mind.
Rated 3.5/5 Stars •
Rated 3.5 out of 5 stars
02/25/25
Full Review
Horror fan 4
This is a terrible movie. From the start I didn't like the characters. The writing is generic and this wasn't dramatic or funny at all. The lact of chemistry between Ricci and Gallo is obvious. I was bored out of my mind watching this. Tim Treakle
Rated 0.5/5 Stars •
Rated 0.5 out of 5 stars
02/18/25
Full Review
Luis I
It's a strange film, but that strangeness works in its favor for the most part. The director’s distinct vision shines through in the unconventional shots and editing choices, giving the film a vibe reminiscent of the French New Wave blended with classic Americana, with hints of Wim Wenders and David Lynch.
Vincent Gallo, both as the protagonist and director, truly carries the film. His performance is compelling and layered, adding depth to a character grappling with bitterness and vulnerability. Christina Ricci’s character, however, remains an enigma. Her motivations and feelings throughout the film are never fully explained, leaving a sense of unreality to her compliance with the story’s events. While this could frustrate some viewers, it also allows for interpretation; her character becomes a blank canvas for audiences to project their own ideas of her backstory.
The film’s climax, featuring a significant decision by Gallo’s character, feels somewhat unearned. While his backstory is revealed in fragments throughout, the emotional payoff doesn’t completely align with the groundwork laid earlier. However, given the simplicity of the film’s themes of acceptance, care, and love against the backdrop of a decaying society, this lack of narrative resolution might feel more intentional than flawed.
As an art film, Buffalo '66 operates with a slower pace and experimental style that won’t appeal to everyone. The characters’ quirks and the film’s meandering structure might test some viewers’ patience. Yet, for those open to its idiosyncrasies, it’s an engaging, thought-provoking watch that lingers in your mind long after it's over.
Rated 3.5/5 Stars •
Rated 3.5 out of 5 stars
12/24/24
Full Review
Dani G
Very funny with a very low-budget feel and look. Excellent work by a director that didn't trascend.
Rated 3/5 Stars •
Rated 3 out of 5 stars
12/21/24
Full Review
michael k
Wow I had to put this right next to straight time with Dustin-a real treat.
Rated 4.5/5 Stars •
Rated 4.5 out of 5 stars
12/04/24
Full Review
David L
Beautiful movie. Great acting and dialogue. Vincent Gallo nailed this. Peculiar love story but beautiful nonetheless.
Rated 5/5 Stars •
Rated 5 out of 5 stars
11/29/24
Full Review
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