“Cocaine Bear” and the Problem of High-Concept Plots

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“Cocaine Bear” and the Problem of High-Concept Plots
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Like “Snakes on a Plane” and “We Bought a Zoo,” Elizabeth Banks’s film “Cocaine Bear” provides exactly what the title promises, Anthony Lane writes: “she has simply made a film about a bear that does coke.” Then what?

Darkness falls. Out in the woods, under the pelting of a pitiless storm, a middle-aged American male, stripped to the waist, fights a furious bear. This elemental sequence comes from a 1977 film, scarily titled “Day of the Animals,” and the joy of it is that the battling man is played by Leslie Nielsen, and that the movie is not—repeat, not—intended as a comedy. What, you may ask, could top that?

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” , and it’s my forlorn duty to report that “Cocaine Bear” follows suit.

Were you to sit down and watch all five movies that are thrashing it out for Best International Feature Film at this year’s Academy Awards, what a curious binge it would be. You could start with “Argentina, 1985,” which, despite relying on the well-worn custom of the courtroom finale, has a refreshing lack of stridency. Next up would be “Close” and “EO”—the first being a saddening saga of two Belgian boys, and the second a form of pilgrimage.

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