A Static Film About Transience (and Self-Involvement, and Blowjobs)
The Brown Bunny gave Roger Ebert cancer, and it features a real blowjob. And the girlfriend is dead. In 18 words, I’ve summarized the hullabaloo surrounding (and the post-climactic revelation of) Vincent Gallo’s shockingly vain vanity project from 2003. I can even spare you from the “boring” parts of the movie – basically the first 80 of its 93 minutes – and help you indulge whatever prurient curiosity you might have by pointing to an in-depth description/analysis of the oral-sex scene. But the film as a whole is actually oddly fascinating, especially in the context of its initial critical drubbing and the filmmaker’s reaction to that reception.
This week saw the debut of 
It is a car salesman that carries writer/director Kirt Gunn’s Lovely by Surprise on his shoulders until the movie blossoms. To his credit, Bob doesn’t actually sell cars. In the automobile-sales process, he dispenses hackneyed life advice, admonishing his customers that they need to spend more time with their families, and do they really want to part with that old clunker, filled as it is with memories? He is played with sincerity by Reg Rogers, in the sense that Bob means everything he says. But there’s a fakeness, a performance, about Bob – a smiling, cheery devil-may-care mask that makes him both inscrutable and intensely compelling. A 
You have to feel a little sorry for the poor bastards of The Hangover. With all the trials they endured, in our Box Office Power Rankings they end up sniffing the ass of an old man. For a month. And when they finally get their shot at Culture Snob glory, Public Enemies sneaks in with numbers that are only across-the-board good – third place in each of our four categories.