Times film critic JustinCChang says 'Cocaine Bear' doesn't blow.
reboot), has a clean way with messy action, as we see in the movie’s best scene — a delirious Depeche Mode-scored action highlight involving a gurney, a speeding ambulance and some truly jaw-dropping, wrist-snapping prosthetic wounds. Not all the bear’s victims solicit your contempt, which is another way of saying it isn’t easy to predict who lives and who dies, though you can bet the latter will include the idiot backing away toward a conveniently positioned grab-and-go window.
The suspense derives in part from the pulse-pounding exertions of Mark Mothersbaugh’s score, and also from the characters’ assumption that black bears are less dangerous than brown bears and always sober. But it also stems from some amateur mammalogy on the part of Banks and Warden, who advance some funny, fanciful ideas how Teddy Drugspin might respond to treats, threats and other stimuli.
Banks shows us some of those commercials at the outset, though she stops short of satirizing the “Hugs, Not Drugs” campaign that was a fixture of so many elementary schools, with none other than Hugs the Bear serving as its furry, friendly mascot. Elsewhere, she pays enjoyable unsubtle homage to this story’s specific moment, cramming the soundtrack with ’80s hits and having Matthew Rhys, Russell’s “The Americans” co-star, play the ill-fated Thornton in a quick prologue.
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