'Cocaine Bear' is about a bear that does cocaine, and that's about all it has going for it.
half-heartedly develops paper-thin relationships that quickly fall by the wayside once its stick figures are attacked by the bear, which—did I mention?—loves cocaine. Further populating this tale is detective Bob , who has a fluffy new dog that he leaves with colleague Reba so he can investigate the missing cocaine.
As for the bear, it resembles a clumsy digital creation when it’s bounding through the woods, rapidly scaling trees and rolling around in white powder, and it looks even phonier during its many growling close-ups. As a result, there’s no uproarious absurdity to the sight of it reveling in illicit substances, nor any tension from the many bizarre sequences that Banks stages for genuine suspense.
The director doesn’t appear to know if she wants to amuse or terrify, and thus settles on a middle ground where neither are possible. For a film built around a bear that— have you heard?—does cocaine, there’s little manic, frazzled energy or wonky delirium to the action, which largely plods along without purpose.
Though it’s dedicated to his memory, the late Ray Liotta is also asked to flounder about in a part that seems to have been conceived on a whim, his Syd a clichéd heavy whose one “thing” is that he neglects his grandson.
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