[In Theaters: REVIEW] Despicable Me 2 (7/10)

Who doesn’t love Despicable Me? Certainly not I – the previous film was one of biggest delights of the summer of 2010 and Gru is back for 2013: no objections here. As with all sequels a little of the magic is lost, but in a classic Hollywood move Despicable Me 2 (and the upcoming feature spin off Minions) gives us more of what we liked, here we get more minions: and what weird and wonderful little worker bees they are. They do it all from tending to household matters around Gru’s house (including tending to Gru’s adopted daughters Margo, Edith and Agnes) to running his new legit business – jams. They also later surface in a complete act of subversion performing as The Village People.

Despicable Me 2, like the first one is a rare animated film that’s worth seeing in 3D (now if only that roller coaster ride from the first one was in DBox as well as 3D….although I have some issues with DBox, but those stem from the fact we at the Buffalo Movie Blog see lots of movies) – opening with a heist at the Arctic Circle, Gru (Steve Carell) is called upon by Agent Lucy Wilde (Kristen Wiig) of the Anti-Villain League (and her boss – Agent Ramsbottom – a perfect Steve Coogan) to investigate a secret chemical that’s gone missing and has been located at a megamall. Gru is sent undercover as the owner of a sweets shop, Bake My Day.

The story progresses pretty much as you may imagine with some nice visual gags, but those damn minions are were the action is at. I almost wish kids movies would just continue with silly gags and forgo the plot (then again that’s all kinds of dangerous – ever see that TV show Family Guy?). Also delightful is Gru’s domestic life – including his stint as Gru-ella, a ferry princess at little Agnes’ birthday. Some of the best gags you’ve seen in the trailers, but there’s more where that came from: director’s Pierre Coffin and Chris Renaud, along with screenwriters Cinco Paul and Ken Daurio keep the energy level up for the film’s whole running time right to the closing credits (which contain another great 3D gag like the first one did).

Despicable Me 2 works, even it takes a break from the fun for the plot- and even those moments have some nice visual gags and minions. Those little guys could do anything and I’d have a smile on my face.

Screening: Dipson Market Arcade, AMC Maple Ridge, Dipson Flix, Regal Elmwood, Regal Quaker Crossing, Regal Walden Galleria, Regal Transit, Regal Hollywood, Transit Drive In, Palace Hamburg

[In Theaters: REVIEW] THE HEAT (4/10)

Paul Feig, how the mighty have fallen. Bridesmaids was an excellent summer comedy that brought Melissa McCarthy to national attention: The Heat is exactly the kind of move Hollywood makes all the time; take what works and do more of it to excess. And speaking of excess – there’s a lot of excessive force: I don’t get why police brutality and excessive force is fodder for comedy – oh because it’s a fat chick doing it - instead of Woody Harrelson? That ain’t right!

Sandra Bullock plays her normal straight edge self, FBI Special Agent Ashburn whose excellent at her job – she’s kept down by the men of course, most of which are both clueless and have no balls. Paul Feig enjoys emasculation as comedy – it’s lazy but truth be told it lands a few laughs. McCarthy plays Shannon Mullins, an officer working the beat in a rough East Boston neighborhood who once arrested her own brother to try to get him help for a drug addiction. Her tactics are rough, including assaulting a family man (a sadly under-used Tony Hale) who was cruising for prostitutes in Mullins hood. She brings in a low-level dealer linked to Ashburn’s investigation and neither one cedes ground going to all sorts of lengths to bring in their perp. These include many ins and outs, through thick and thin the unlikely duo – dubbing themselves “the heat” bond and take on the system.

We’ve seen this before and while The Heat has a few laughs the rhythm and pace are truth be told a little off: its running time is a little too long and Feig is certainly not the action director that Michael Bay is. The screenplay by Katie Dippold hits all the beats you’d expect from this concept with a slight feminist twist. It’s too mainstream to go all the way and risk alienate part of its audience, so where’s the fun in that? The Heat is essentially an R-rated, test marketed to death sitcom by committee: Hollywood does need women in powerful roles, but it doesn't justify just how brainless this movie is.

So here’s the deal: The Heat is exactly the movie you think it will be. You might like it: good for you, here’s some venues that’ll gladly accept your $9-10.50:

Screening: Dipson Market Arcade, Dipson Flix, Regal Elmwood, Regal Walden Galleria, Regal Transit, Regal Hollywood 12, Transit Drive In

[BUFFALO CLASSICS] JUMP TOMORROW (2001)

Jump Tomorrow is the first in an occasional series exploring classic films made in the Buffalo-Niagara region. To recommend a Buffalo classic for review please contact us at BuffaloMovieBlog@gmail.com or comment below!

From British born (American educated) filmmaker Joel Hopkins, Jump Tomorrow (released in 2001) is a quirky Buffalo-Niagara shot indie boasting a few recognizable locations in the region including the Buffalo skyline, the rear of the convention center off Franklin, and of course Niagara Falls. The film is a strange study in design as you’ll see in any still – contrasting funkadelic colors – green and orange and minimalist design (often characters pass through spaces, crossing frames as directed by arrows).

Tunde Adebimpe plays George, a shy Nigerian American about to get married to a women he hasn’t seen in two years. Picking up his fiancé from the airport, he arrives a day late and runs into Alicia (Natalia Verbeke), a beautiful Spanish woman who invites him to a funkadelic party in a white room full of 90’s hipsters. Alicia is the kind of women that could derail his whole miserable life – George is a sweet guy who is either depressed or incapable of feeling.

Contrast that with Gerard (Hippolyte Girardot) – a passionate (and suicidal) Frenchmen – they are all trying to get to Niagara – George to get married, Alicia to move to Canada, and Gerard because it’s allegedly both the “love and suicide capital of America”. Taking the form of a road comedy for its second act, they set out proving Western New York can double for almost anywhere in America we get shots of landscape (probably out by Tonawanda), the rare mix of industry next to residential (my guess is Lackawanna right beyond the skyway), and seedy themed "romance" hotels.

Jump Tomorrow is an odd, Europian screwball comedy: I’ve seen it twice now and I’m still not sure what to make of it, perhaps flawed is one way of putting it. It scores a few big laughs – but its reflexive of a greater trend in the 1990s I think: somber films about somber characters who allegedly should have their lives together (this was made in prior to 9/11 of course and so its’ so easy to cross the boarder). Jump Tomorrow – an anti-suicide message George uses to pled with Gerard while on the ledge seems to sum up that whole era of 90’s indie – just like Dante and Randall in Clerks, they’re doomed to a life they might not like but will take action tomorrow.

As a Buffalo film Jump Tomorrow shows just how versatile a setting the region can be: you’ll notice a few locations along the way but its by no means a major travelogue – it’s instead a culturally mixed up comedy that could only take place in America, the use of a border town is especially apt.

Jump Tomorrow is available for purchase and rental on iTunes.

OPENING THIS WEEK - 7/2/2013 & 7/5/2013

Five new films grace the shores of Lake Erie (and Ontario - we don't discriminate for those in the extreme North Towns) this week, including two early Wednesday (well actually Tuesday night) openings just in time for America's birthday (we will not be upstaged by Canada Day! Said me as I wade through the friendly Canadians infiltrating the Walden Galleria today - leaving behind their boxes and receipts to cheat Boarder Services).

@ The Art House (opening FRIDAY)

Midnight's Children - Dipson Amherst Theatre

Speaking of Canadians - Deepa Mehta returns with Midnight's Children - it looks like a compelling narrative spanning a swath of history in a vastly changing India (following independence from Britain to modernization). Based on the novel by Salman Rushdie. (who despite Gene of Bob's Burgers, is not the author of The Lion Witch and the Wardrobe .... skip ahead to 1:23 here)

The Attack - Dipson Eastern Hills

While that title could describe virtually any big budget studio film - the Lebanese produced The Attack has been allegedly banned throughout the Arab world, the film looks like a powerful, complex study of the Israeli zeitgeist wrapped in a political thriller.

@ The Multiplex (opening TUESDAY NIGHT)

Despicable Me 2 - AMC Maple Ridge, Dipson Market Arcade, Regal Quaker Crossing, Regal Elmwood, Regal Walden Galleria, Regal Hollywood 12, Dipson Flix, Transit Drive-In

Gru is back (but did he ever really leave) - I loved the first Despicable Me - especially its use of 3D (which, unlike many a film was a true upgrade), the trailers makes me laugh every time I see one....

The Lone Ranger -AMC Maple Ridge, Dipson Market Arcade, Regal Quaker Crossing, Regal Elmwood, Regal Walden Galleria, Regal Hollywood 12, Dipson Flix, Transit Drive-In

Because you didn't ask for it - another big budget bloated studio movie with Johnny Depp - with a 2 hour and 20 minute running time (see at at Regal and you'll be there for three hours - - seriously Regal, 25 minutes of previews the other day at White House Down!). I've enjoyed Gore Verbinski's earlier films but this looks like what happens when you have a director unchecked doing what he will...

Kevin Hart: Let Me Explain This - Regal Quaker Crossing, Regal Elmwood, Regal Walden Galleria, Regal Hollywood 12

I enjoyed Hart's first theatrically released concert movie, 2011's Laugh at My Pain, so his new one should be fun to check out (and its only 75 minutes - half the length of The Lone Ranger)

In The Cheap Seats

The Bling Ring - Dipson McKinely Mall  (review)

Reparatory Screenings

Grease - The Screening Room Cafe

Continuing In Town... (our reviews)

Monsters University

Stories We Tell

White House Down

[In Theaters: REVIEW] WHITE HOUSE DOWN (7/10)

More violent than it should be for its PG-13 rating (there’s only so much pointing a gun at a little girl’s head you can do without the “fun factor” being interrupted here) – White House Down is one of the more interesting summer blockbusters. Arriving months after Olympus Has Fallen – it has the same basic plot: terrorists who know the system have taken the white house and the president has been compromised. Here, Jamie Foxx plays the president and shares a few of Obama’s quirks (including playing basketball and popping nicotine gum). Tatum becomes the hero of he day as John Cale (hey isn’t that the name of a musician?) a capital police man sent in to interview for a position at the secret service, he takes his daughter Emily (Joey King) – a politics junky and video blogger, with him.

Richard Jenkins plays Raphleson, the speaker of the house, who doesn’t seem as teary eyed as John Bahner. James Woods plays a resigning secret service head; Walker whom we no know is evil just because he doesn’t don his flag lapel before leaving his house. The bad guys are mercenaries for hire including the baddest of the bad Stenz (Jason Clarke) – he’s switched sides from last time we’ve seen him – blasting heavy metal and water boarding in Zero Dark Thirty. Maggie Gyllenhall plays Wood's deputy - on the outside who provides radio assistance to Tatum.

Of interest the most is Emily – a teen blogger who’s fascinated by politics. With her phone and a few YouTube uploads she blows the whole siege – getting insider information out. Oh the allegory – but, you see, at least White House Down is about something – while at the same time playing it just safe enough not to alienate both sides. There’s also a conservative critic who stands up to the mercenaries when he needs to (he looks curiously like Rush Limbaugh).

White House Down is all in good fun, until it isn’t  - it’s silly enough to open with President Sawyer’s tradition of gliding down the mall and flying right past the Lincoln Memorial on his way back to the White House. It also features the president as an action hero (you remember all the talk of Obama as a super hero, I buy his ability to kick ass and take names). Where it goes wrong is really some dark moments – leave it to Emmerich to make fun out of terrorism. Perhaps he’s always been critical of our anxieties from Independence Day to The Day After Tomorrow to 2012 – no one does it quite like this guy.

What’s left is a slightly more fun and slightly more effective retelling of the story we had in Olympus Has Fallen: Emmerich knows what he’s doing and a few times he crosses that line. Olympus Has Fallen was an effectively directed yet flawed action movie that took itself more seriously. The allegories aren’t lost on me here; this is a B-Movie with an A-Movie budget.

Another thing I’ve noticed increasingly is the reliance on CGI and moving shots in DC – I wonder about this choice: is the city is so secure even a huge budget Hollywood movie you can’t stop traffic to shoot? Either way this aesthetic produces that uncanny valley effect – it’s so real that it isn’t (kind of like I Can’t Believe It’s Not Butter). As far as summer movies go, this one is a bright spot because at least it’s about something without stopping to be boring. It’s got that on Man of Steel and World War Z.

7 out of 10.

Screening: Dipson Market Arcade, Regal Elmwood, Regal Walden Galleria, Dipson Flix, Regal Transit, Regal Hollywood 12, Transit Drive-In

[Local Trailers] RETURN TO NUKE EM' HIGH: VOL 1

Last summer Lloyd Kaufman and Troma took over the NAC (Niagara Art Center) and the surrounding neighborhood (even reportedly housing cast and crew over night in a mortuary - yep - Troma, of course!). As usual this one (like the Buffalo shot Poultrygeist: Night of the Chicken Dead) contains a mix of gross (but enduring) gags crossed with social commentary, including high and low brow jokes (my favorite was from their classic Tromeo & Juliet - "how would you like it if I use your guts to Jackson Pollock the street?")

This one looks like a blast - with a lot of local locations filling in for the fictional nuclear wasteland of Tromaville, NJ - the film garnered a few positive reviews from the critics who get it at Cannes.

** LOCAL TRAILERS will be a regular series - filmmakers may submit their trailers to us at BuffaloMovieBlog@gmail.com. 

We are also seeking suggestions for films to cover in our new series which compliment our current IN THEATRE REVIEWS and LOCAL REVIEWS. Launching later this week look for BUFFALO CLASSICS, as well as whats new and on video on demand with HOT VOD. Stay connected with us on Twitter (@BuffaloMovieBlog) or Facebook.

[In Theaters: REVIEW] STORIES WE TELL (8/10)

Sarah Polley’s Stories We Tell is an incredibly intimate look at the notion there are three sides to every story: yours, mine and the truth – here Polley explores the way collective memory formulates a story – and how parts of a story unfold through multiple narrators often finding out information second and third hand. Stories We Tell is just that – a study in the power of the subjective. As Elvis Mitchell stated when he interviewed Polley on his KCRW radio show – this completes a trilogy of films (her first two the very strong and powerful Away From Her, and the second – the fascinating mess Take This Waltz). All three prominently feature women figuring out something about themselves: Take This Waltz the story of a women finding out quite literally she needs to find out who she is before she can be happy with anyone else.

Stories We Tell is about the influence of others on our lives: Polley’s mother, Diane Elizabeth was an actress who frequently traveled between Montréal and their home in Toronto. Diane tragically passed away from cancer following Sarah’s 11th birthday – leaving Michael Polley to raise their three children.  We later learn (with 99% certainty) Sarah’s biological father is producer Harry Gulkin, a shy man whom Diane fell in love with and had a life with in Montréal.

While Polley and Gulkin get to know each other the story is leaked to the press before Polley breaks the news to her “dad”, Michael. At the center of the story is a touching letter Michael has written to Sarah as these events unfold.

Incorporating 16MM recreations to spice up the professionally shot “talking heads” interviews with Polley’s family, new family and friends of her mother, Stories We Tell is an amazing, brave feat of filmmaking. Stories We Tell is a warm, inviting, brave and heartbreaking all at once: we all know families with similar stories.

Screening: Dipson Amherst Theatre