‘Bunny’ Review: An Off-the-Wall Indie Comedy That Celebrates the Enduring Rowdiness of Downtown Manhattan

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Back in the 80s and 90s, downtown Manhattan was a hub for independent films. Movies such as Jim Jarmusch’s “Permanent Vacation”, Edo Bertoglio’s “Downtown 81”, Larry Clark’s “Kids” and later works like the early Safdie brothers’ “The Pleasure of Being Robbed” were raw, spontaneous street films produced on shoestring budgets. These directors aimed to portray the eccentric and unruly culture existing south of 14th Street.

Over time, residing in that city district turned out to be increasingly costly, escalating prices to the point where numerous writers, artists, and filmmakers could no longer afford their localities. Filming in Manhattan grew prohibitively expensive as well, allowing only lavish TV shows such as Law & Order, Billions, or Succession to thrive. The recent Safdie production set in New York City (directed by Josh Safdie for the first time alone) is a grand period piece featuring Timothée Chalamet and boasting a budget of approximately $50-$70 million.

Occasionally, there’s an exception to the rule, and the most recent example is “Bunny,” a lively, ensemble comedy that unfolds in an East Village apartment building filled with hustlers, stoners, party-goers, landlords, Wall Street types, and surprisingly, not just one but two deceased individuals.

Under the guidance of first-time director Ben Jacobson, who additionally stars as one of the main characters, the film presents nothing particularly innovative, featuring an outlandish caper plot that falls short of credibility. However, it effectively captures a unique downtown ambiance that seems to be disappearing – an environment where diverse neighbors cohabit in congested apartments, fostering a camaraderie exclusive to a certain part of New York City.

In Jacobson’s script, actors Mo Stark and Stefan Marolachakis portray their roles amidst what seems like a heavy marijuana fog. The narrative unfolds on a sweltering summer day that spirals out of control from the get-go, with events taking a turn for the worse as drugs are used, people meet untimely ends, and the NYPD appears only to discuss food options such as burgers and gyros instead of addressing the chaos.

It’s all about Bunny (Stark), the laid-back hipster living on 2nd Avenue, who seems more at home on the beach than in the city. He’s our building’s unofficial superhero, always ready to lend a helping hand. The movie unfolds on his birthday, filled with typical day activities of assisting tenants and catching up with his best friend Dino (Jacobson). However, things take a dark turn when a man from Bunny’s job as a part-time gigolo comes after him, leading to a heated confrontation that ends with Bunny finding himself in deep trouble for strangling the man.

In a whirlwind of chaos yet surprisingly well-orchestrated, I found myself immersed in the movie’s rollercoaster journey. As the two protagonists, we grappled with one calamity after another. Our priority list included discreetly disposing of a deceased individual, appeasing Bunny’s formidable father-in-law (Tony Drazan), managing our intrusive landlady upstairs (Linda Rong Mei Chen) who unwittingly stumbled upon yet another corpse, and tactfully dealing with two chatty, munchie-struck police officers (Ajay Naidu, Liz Caribel Sierra). Not to mention the expectations of Bunny’s spouse (Liza Colby), who had her heart set on a threesome as a birthday gift for him, and the neurotic Orthodox Jewish tenant (Genevieve Hudson-Price) who reserved one of our rooms for the day.

As a gamer, I find myself immersed in the fast-paced, action-packed world of “Inheritance,” where characters weave through tight spaces with ease. To catch every thrilling moment, Jacobson and DP Jackson Hunt use sweeping Steadicam shots that glide effortlessly across the screen. They even film entire sequences in a single, uninterrupted take whenever they can. However, some of the antics can veer towards the exaggerated side, and the plot twists, while entertaining, often push the boundaries of believability.

However, the narrative serves mainly as a backdrop to portray the vibrant and unconventional spirit of the East Village, which remains alive today among survivors like Bunny who manage despite hardships. It appears that sex and drugs are as common in these tenements as the numerous Citi Bikes adorning the streets below. The residents move from one apartment to another, either enjoying themselves or engaging in conflict, preferring festivities over work as the day stretches on, seemingly unending, like an unrelenting high.

The movie offers some truly humorous scenes, like when a fellow officer (Michael Abbott Jr.) likens Bunny and Dino to Thor and Eminem, but it also has moments that can be quite tiresome, giving the impression that the film is spinning its wheels. In essence, Bunny is less of a traditional movie and more of an immersive journey, offering viewers a sense of what it’s like to inhabit one of those cramped, poorly lit apartments where lingering strange smells are a constant and tranquil nights are nonexistent.

The cast features an assortment of diverse individuals, encompassing various ethnicities, ages, and unique personalities from the downtown area. Amidst the younger actors, Jacobson incorporates appearances by esteemed veterans such as writer Richard Price, known for his 2008 novel “Lush Life” which celebrated the Lower East Side, and Eric Roth, an Academy Award-winning screenwriter whose works include “Forrest Gump” and “Dune”, who spends the entire film lounging on a bed watching repeated episodes of “Kung Fu”. Tony Drazan is another notable cameo; his 1992 interracial drama “Zebrahead”, though often overlooked, is a forgotten indie gem worthy of revisiting.

Each unique character adds to the lively, uninhibited ambiance of a film that may not be exceptional, but wholeheartedly strives to enhance the grandeur of New York City once more.

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2025-03-12 20:24