Cocaine Bear Review The best theatrical trailers of 2022 Cocaine Bear is ‘Pretty Goofy,’ says Elizabeth Banks: ‘Once the party gets going, he’s a real Humdinger’ – Exclusive Cocaine Bear image: Watch wild trailer for new comedy

cocaine bear It begins with a litany of facts about bears and their propensity for violence that is quickly undermined by the subheading: “Source: Wikipedia.” It’s a knowledge gag, treating its audience with a respect that makes you feel in good hands (a hope bolstered by the presence of Phil Lord and Christopher Miller in the credits). Unfortunately no. Almost every subsequent moment, Elizabeth Banks’ film makes bad decisions to give you a constant break to think. The true story of a 175-pound American black bear who laughed at an underestimated shipment of cocaine (earning the nickname “Pablo Escobear”) is the origin of a fantastic comedy about killer animals, but Banks and screenwriter Jimmy Warden screw up the tone and evoke something. which isn’t scary or satirical or funny or scary. In a way, the pair did the impossible: They turned the story of an apex predator battling Charlie into a bore.

It begins with an elongated, elongated opening stroke that sets up the multiple colorless characters that will face the osine under the influence. There are two criminals (O’Shea Jackson Jr, Alden Ehrenreich) sent by a trader (Ray Liotta, in one of his last roles) to recover the gak; a ‘tec (Isiah Whitlock Jr) on his trail; a single mother (Keri Russell) searching for her daughter and her best friend (Brooklynn Prince, Christian Convery); a park ranger (Margo Martindale) who likes to visit a wildlife inspector (Jesse Tyler Ferguson); and a band of marauders (led by Aaron Holliday) roaming the woods. Presumably, the idea is to create a Coen-style gallery of rogues and eccentrics, but each character is given a scripted backstory or polite quirk (Whitlock Jr’s cop calls his dog), or seemingly endless whispers. . -Tarantino on topics ranging from 20 Question Rules to Jeffrey Osborne’s 80s ballad “On The Wings Of Love.”

Things don’t get much better when they meet the titular star. The scenarios range from the so-called cartoon: cocaine bear speed up a tree when you smell dust, to bad, never finding the sweet spot in between. Banks has no control or perspective on the material, an uncertainty that is also present in Mark Mothersbaugh’s score, which oscillates inefficiently between 80s synthesizers and Sturm und Drang dread.

It’s okay that the bear looks obviously CG, if he was clumsy going wild with attractive victims you wouldn’t care, but the worst part is that he has little personality of a Ray Harryhausen or Stan Winston creature. A gloriously gruesome skirmish with an ambulance crew gives you a taste of what the film could have been, but Banks’ storytelling is too heavy-handed to convey the goofy energy needed (no film should spend so much time revolving around a gazebo). . Imagine if Roger Corman/Troma/The Asylum’s low-budget rip-off (“Blow Badger,” “Heroin Hedgehog,” “Ecstasy Aardvark”) was even funnier.