Cocaine Bear movie trailer
Cocaine Bear movie review
The title of "Cocaine Bear" explains the film, just like it did with "So I Married an Axe Killer" (1993) and "We Bought a Zoo" (2011). I must have missed it if Banks was using this as an allegory or political tale to point the finger at our ecological misdeeds. From what I could tell, she basically created a movie about a bear who consumes coke, snorts it, hunts with it, sneezes it, and, at one euphoric point, takes a shower in it. (Is there a hint to "Little April Shower," the sweetest scene in "Bambi"?) It seems as though Quentin Tarantino began his career with a story of some kind in the early 1990s.The trouble with high-concept films, though, is not the concept but the height. We laugh when we first hear about them, and we relish the buzz of the trailers; given that level of anticipation, it’s no surprise when the movies themselves take a tumble. Such was the case with “Snakes on a Plane” (2006), and it’s my forlorn duty to report that “Cocaine Bear” follows suit. Why does the whole cast, including the kids, swear so freely and so loudly (“We’re fucked,” Henry cries), if not to advertise the amazingness of the main plot? The violence, likewise, is far nastier than it needs to be, with cameos from severed limbs and an actress suffering the indignity of being dragged along a road, her face bumping and scraping in closeup. The excess, however gleeful, is that of a film paying anxious tribute to itself. Look, it seems to shout, here’s an apex predator becoming a homicidal junkie! What did you expect?
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Even while it is joyous, the excess comes from a movie paying self-conscious homage. Here's an apex predator turning into a homicidal addict, it appears to shout. What were you expecting?
The loudness is occasionally lowered. The contact between mother and daughter, Sari and Dee Dee, early on, at home, is more plausible than that between man and animal. Brooklynn Prince excelled as a naive six-year-old in "The Florida Project" (2017); why then is Dee Dee permitted to disappear from the story for so long as Dee Dee? I can't help but wish Elizabeth Banks, who is usually a sympathetic presence onscreen, were in this movie because the serenity and goodness she exuded in "Love & Mercy" (2014) could have helped to Instead, "Cocaine Bear" has an odd jostling feel to it, with figures shuffled onto the stage before being elbowed away to make room for the next contestant.
Who exactly are we expected to root for now remains a perplexing topic. For the bear, I suppose, but C.G.I., despite its marvellous recreation of flesh and fur, is less skilled in pixelating a personality, and there is little here to rival the charm of Baloo in "The Jungle Book" (1967), who drank nothing more potent than prickly pear and pawpaw.To be honest, cocaine feels like a really basic necessity. It's possible that Banks will be persuaded to return for sequels with different stars and different concoctions of addictive substances and untamed mammals. However, there will be audiences who cackle like witches at this stuff, especially at midnight showings (if those jamborees still exist, in the age of streaming). Be ready for the uncompromising "Skunk Skunk," "Meth Bobcat," and "Fentanyl Hyena." Regrettably, there are countless choices.
What an odd binge it would be if you decided to sit down and watch all five of the films competing for this year's Oscar Award for Best International Feature Film. You may begin with "Argentina, 1985," which, despite relying on the cliched courtroom conclusion, has a welcome lack of abrasiveness. The following films would be "Close" and "EO"; the first was a tragic tale of two Belgian boys, while the latter was a kind of journey. (The pilgrim in question is a donkey; what he goes through is difficult to take, but to follow in his hoofsteps is, in my opinion, a supreme privilege.) You may watch "All Quiet on the Western Front" with a lot of booze and deep inhalations.
Finally, "The Quiet Girl" the final contender to be published with Oscar night rapidly approaching, might help you bounce back.
The Silent Girl, a Colm Bairead-written and -directed film, is set in Ireland in the early '80s, however there are stretches of action or sullen inaction that may be taking place 10 or twenty years earlier. The main character, Cat (Catherine Clinch), who is nine years old and has ghost-pale features as well as dark hair that reaches her waist, also has a subtly abstract air. Similar to the idyllic children in "Near," she seems perplexed by her place in the contemporary world.With her parents, brother, three sisters, and three other siblings, Cat resides in a gloomy grey home.
(The story's complete lack of sibling attachment is one peculiarity.) She converses with her mother (Kate Nic Chonaonaigh), who is expecting her sixth child and is barely managing, in Irish while speaking English to her grumpy father (Michael Patric), who has unsavoury habits ("I had a watery supper"). Cat is the one to go—sent to spend the summer on a farm with distant relatives—as the family wants to get rid of some extra baggage.
How many tales involving a kid being cast out have we seen or read?
Even "Heidi," which we see Cat reading in "The Quiet Girl," is more troubled than its reputation suggests. "James and the Giant Peach" plunges its recently orphaned hero into an aunt-infested nightmare; "The Secret Garden" travels through infirmity and resentment to reach a pastoral peace. (Heidi sleepwalks as a result of her recurrent longing for the mountains.) Contrarily, the residence where Cat is placed looks to be a true haven: a farmhouse owned by Seán (Andrew Bennett) and his wife Eibhlin (Carrie Crowley), who, upon seeing the new arrival with her filthy limbs, immediately prepares her a hot bath. Seeing how cautiously Cat dips her toes in the water, one may assume that this is a rare pleasure.
Crowley gives a composed portrayal, allowing us to sense both the instinctive warmth with which Eibhlin embraces Cat and the coolly guarded constraint in her demeanour, as well as her desire to care for her throughout the summer and, by the illogic of love, to have done so sooner. She remarks, "I don't understand why I didn't consider taking you in earlier." Notwithstanding how sweet they are, does the tone of those words hint at desperation? What more might Eibhln not have done? "The Silent Girl" is a beautifully shot idyll by director Kate McCullough, but tension ripples beneath its serene surface. A well beside the property is so calm and clear that it like a mythical source of enchantment.Nonetheless, the image of kids slipping into ponds and pools will come to mind for anyone who has seen the 1973 film "Don't Look Now." Legends can have an unpleasant aftertaste.
The movie occasionally goes overboard. Eibhlin says to Cáit, sounding like someone who just escaped from an Ibsen play, "If there are secrets in a house, there is shame in that house." The fact that there are clothing in the wardrobe and train-themed decor in her bedroom are two indications that something unfortunate happened there before Cat arrived. The true shock is that throughout the story, Sean, her stern husband, is the one who captures their attention while the exquisite Eibhlin fades into the background as if everything were simply too much for her.Cat, he observes, "says as much as she needs to say." The camera continuously mimics her roving glance; for Sean, the fact that she observes so much while saying so little is a quality that he recognises and admires. He silently places a cookie on a table's edge for Cat in the sweetest gesture in the film. He might be providing food for the birds.
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