Cocaine Bear (2023)
Director: Elizabeth Banks
Screenwriters: Jimmy Warden
Starring: Keri Russell, O’Shea Jackson Jr., Christian Convery, Alden Ehrenreich, Brooklynn Prince, Ray Liotta
In 1985, Andrew C. Thornton II — once a narcotics officer and later involved in drug trafficking — piloted a plane carrying a large shipment of cocaine across the southeastern United States. During that flight, a substantial quantity of the contraband had to be dumped over the Chattahoochee–Oconee National Forest; roughly seventy-five pounds went overboard. In real life, a black bear discovered and consumed a portion of that cocaine and died, becoming a macabre local legend often referred to as “Pablo Escobear.” Today, the taxidermied bear is on display at the Kentucky for Kentucky Fun Mall in Lexington, and its fictionalized counterpart is the subject of the outrageous horror-comedy Cocaine Bear.
The film turns the grim historical footnote into an absurd, violent comedy. Rather than succumbing to an overdose, the on-screen bear becomes hyper-aggressive, dismantling anyone who crosses its path with a ferocity that makes the film’s premise both shocking and darkly hilarious. Elizabeth Banks, directing for the third time, shifts away from her earlier, lighter studio work to deliver a raucous, well-paced picture that understands its own tone. After an opening that humorously reframes Thornton’s demise, the story splits into several intersecting strands: hapless criminals, wildlife officials, and innocent bystanders all encounter the drug-addled bear in different, memorable set pieces.
Visually and tonally, the film balances realism with the surreal. Newsreel-style footage and period details ground the story in its 1980s setting, while synthetic music cues and fashion choices push the film toward affectionate pastiche. The contrast between the film’s believable world and its fantastical central conceit enhances the comedy — the more ordinary the surroundings, the more striking the bear’s mayhem becomes. The screenplay gives surprisingly textured moments to characters who might otherwise be reduced to caricature, and Banks’s experience as an actor helps coax natural performances, especially from younger cast members. The digital effects, aided by modern visual standards, convincingly render a large, violent bear that can both terrify and terrifically entertain.
A notable dynamic in the cast is the odd-couple pairing of O’Shea Jackson Jr. and Alden Ehrenreich as two criminals searching for the lost cocaine. Jackson plays the more grounded, straight-laced partner while Ehrenreich embodies a downbeat, introspective dealer whose darkly comic melancholy recalls elements from films like Crash. Ehrenreich revels in his role, showing a playful freedom that meshes well with the film’s tone, whereas Jackson’s steadier presence provides balance. Their contrasting energies make their scenes together consistently engaging.
Among the standout performances are the child actors Christian Convery and Brooklynn Prince. Both bring surprising depth and ease to roles that could have felt performative in a movie this ridiculous. Prince, already recognized for work in films such as The Florida Project, and Convery convey believable curiosity and vulnerability as children who find themselves in increasingly dangerous circumstances. Banks’s direction allows them to act naturally, which keeps the film grounded even as the chaos escalates.
It is regrettable that Ray Liotta, in one of his final screen appearances, receives relatively little to do. Cast as a drug kingpin, Liotta brings the physical presence and seasoned gravitas he is known for, yet his character remains mostly a looming figure offscreen until late in the narrative. His few moments on camera are striking in appearance but underused dramatically, which feels like a missed opportunity to enrich the film’s criminal subplot with more of his trademark intensity.
Of course, viewers do not come to Cocaine Bear for subtle social commentary. They come to see a bear wreak spectacular havoc, and the film delivers exactly that. The creature rips through victims and property with grisly gusto, shreds packages of cocaine, and even creates snow-like clouds of powdered drug that heighten the absurdity of the carnage. The movie avoids turning its premise into a heavy-handed metaphor about environmental degradation or the politics of the drug war; instead, it embraces the simple objective of entertaining audiences with over-the-top, grotesque set pieces and black comedy.
This is not high art, nor does it aim to be. Cocaine Bear is a modern B-movie produced with a solid budget and seasoned professionals who know how to craft effective genre thrills. Where it succeeds is in meeting expectations: it is loud, gory, frequently funny, and undeniably fun for viewers willing to surrender to its silliness. If the film’s aim is pure entertainment and it elicits laughter and astonishment, then it accomplishes that goal handily. And while the real-life story of Andrew Thornton is strange enough to warrant a serious biopic one day, this particular outing chooses to lean into fantasy and absurdity — and most audiences will be happy it did.
Score: 18/24