“Debt never dies,” the muculent Wizz imbibes onto the up-and-coming, silver-tongued debt collector Peg. An unlimited resource is the perfect match for a woman whose own chaotic energy never dies. But it’s also a good personification for Tanya Wexler’s Buffaloed on the whole: a non-stop burst of riotous ruins that never stops for a breather. Trapped between sticky buffalo wings and rotting buffalo busts, the slick-talking Peg (Zoey Deutch) is unwilling to concede to the working-class lifestyle. In contrast to her dotingly crass mother (Judy Greer) and her supportive but simplistic older brother (Noah Reid), Peg aims to break free of her upbringing and pursue more lucrative means. Initially she pursues the higher education route, but her plan soon crashes and burns when her fundraising method of scams and hustling lands her in the slammer. (Not to mention that it also alienates her from her hometown constituents, who were appalled by the audacity to scalp fraudulent tickets to their beloved underdog Bulls.)
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When she once again hits the streets of Buffalo, Peg can’t shake the addiction to schemes – or her nearly $50,000 of debt from legal fees, as well. Piqued at the process of debt collection and its profitable potential – and wanting to utilize her knack for the sales pitch – she joins the ranks of Wizz (Jai Courtney) to get her feels for the business’ ropes. But when she decides to branch out on her own in the attempts to do more “ethical” debt collecting, she sets off a war with Wizz and the other local agencies who aren’t willing to surrender any shred of profit. Peg tries to keep one step ahead of the pack, but with collectors encroaching upon her own friends and family – and her prosecutor boyfriend (Jermaine Fowler) sharpening his legislative gaze – she’s quickly falling behind on more than just her monthly payment. Buffaloed is yet another entry in the modern franchise of fourth-wall-breaking financial dramas fueled by monetary discontent and class-based disaffection. It’s not as egregiously condescending as others have been, but at this point the technique is so tainted that it’s hard not to read it at least as a slightly egotistical flex. But if anything, this persistence of the “let-me-explain-things-to-you” archetype in a post-Great Recession marketplace speaks to the continuously sad state of economic affairs and the complexity of the legalese surrounding it. Unlike a McKay or a Gillespie who insult through snark, director Wexler empathizes with her characters and her audience in the convoluted mess of this crisis. She and writer Brian Sacca (who also has a small acting role as one of Wizz’s lackies) use their characters – rather than non sequiturs – to connect to the audience, with the primary goal in these meta moments to actually inform rather than to distract. It results in a sort of sardonic solidarity with their potentially less-than-economically-savvy viewers (like, admittedly, myself), in that the film would rather aid in our comprehension of the conflict rather than simply tear down our intellect (or lack thereof). Although that’s not to suggest that Buffaloed never fumbles. It’s content with tackling those who exploit the disenfranchised, but seems averse to taking on the wider picture of inequality and financial destitution. Knocking debt collectors is one thing, but the banking institutions and detrimental class divisions emerge from the film without so much as a minor scrape. One could argue that that’s not the film’s main point, but given the primary topics it seems like an odd exclusion – especially with the production design’s commitment to the portrayal of the working class’ lack of elegance as a point of comedy. Thankfully Wexler walks the dividing line of mockery and empathy without much faltering, which makes it seem like the film is somewhat in on the joke. Such is evident by the amusingly jarring disconnects from reality, like how every Buffaloan drops everything to rally behind the Bulls (regardless of the immediacy of the encompassing circumstances). The dynamic cast and Sacca’s acerbic writing make this easy to swallow. Deutch is an absolute powerhouse who dominates the screen with terrifically manic energy. Her portrayal of Peg is over-the-top, but in a ruthlessly conniving way that bars us from granting her too much sympathy. It’s a perfectly balanced performance that veers grotesque enough to be hilarious, but pulls away before becoming too indulgent. It’s beneficial that Deutch has such a lively cast to bounce off, too. Greer, Courtney, and Fowler are the supporting stand-outs, but the chemistry between everyone from the bits to the big names is downright explosive. The final call: a tight hour-and-a-half crime comedy that’s stuffed to the brim but still easily digestible. How can that not be a worthwhile investment? Rating: 6/10 Leave your thoughts on this Buffaloed review and the film below in the comments section. Readers seeking to support this type of content can visit our Patreon Page and become one of FilmBook’s patrons. Readers seeking more film reviews can visit our Movie Review Page and our Movie Review Pinterest Page. Want up-to-the-minute notifications? FilmBook staff members publish articles by Email, Twitter, Instagram, Tumblr, Pinterest, and Flipboard.
