Cinema was forever changed last week with the release of the immediate American classic, Cocaine Bear (2023). A mostly decent horror comedy about a bear that, wait for it, does cocaine! Upon the film’s release, it received polarizing words. Fun, forgettable, entertaining, boring, funny, unfunny, instant cult classic- an instant cult classic? That is the one that stuck with me as I left the theater. Not because I think the film is deserving of that title but because it reminded me of so many other horror comedies to receive it. Some films that are deserving of cult classic credit are films like Cabin in the Woods (2011), Jennifer’s Body (2009), and The Evil Dead (1981). But the one that I was most reminded of after stepping out of the theater was a mostly undiscussed horror comedy from 1999: Lake Placid, a film about a giant crazed animal attacking a nature park and the group of quirky characters who band together to vanquish it…wait a minute, that sounds familiar.
Lake Placid, directed by Steve Miner and written by David E. Kelley, isn’t a great film by any means, but it’s one that I think should be reevaluated now that we have such films as Cocaine Bear and the soon to be released, Attack of the Meth Gator (It’s real. Look it up). Lake Placid subtly embraces its campiness but, throughout the film, accumulates into an absurd experience while still telling a cohesive and surprisingly well-written story. Like Cocaine Bear, the film has an unusually decent cast with stars like Bridget Fonda, Bill Pullman, Brendan Gleeson, and even Betty White, giving off some absolutely campy yet killer performances. Within 82 minutes, Lake Placid tells the tale of a game warden (Pullman), a paleontologist (Fonda), and the local sheriff (Gleeson) who team up to investigate mysterious deaths that are occurring at the titular lake. They soon realize that the deaths are the result of a 30-foot crocodile terrorizing the waters. As the trio attempts to defeat the creature, they soon realize that there may be other forces at play manipulating the beast. As I stated earlier, the film isn’t a masterpiece, but from the very start, it knows exactly what it is and plays with the concept as much as it can. Like a game of cat and mouse, the heroes continuously try and fail to lure the beast, only to end up causing more destruction. I don’t want to spoil the whole film, but there is a reveal later on that is absolutely hilarious and becomes a meta-joke about the absurdity of the monster film genre as a whole while also further cementing Betty White as a cult icon.
Lake Placid is only strengthened by its excellent crew. Directed by Steve Miner, who up to this point was known for his work in horror, with such films as Friday the 13th Part: 3 (1982) and Halloween H20: 20 Years Later (1998,) and written by David E. Kelley known for creating shows such as Doogie Howser M.D., Picket Fences and Boston Legal. (Seriously, Kelley has written and created 28 primetime television shows.) It’s the perfect combination to create a film that pokes fun at itself and the horror genre while still being a competent film on its own. An established director is known for horror films directing a film written by someone known for creating shows that balance seriousness with subtle parody. Accentuated by the cast, each familiar with both horror and comedy, the final result is a film that truly deserves the accolade of “cult classic.”
This is something that I, unfortunately, cannot say the same about Cocaine Bear. For a film about a vicious bear on a cocaine-fueled rampage, in the end, it’s surprisingly tame. It feels like a film that was created for the sole purpose of being immediately labeled as an “instant cult classic” rather than obtaining that title through genuine means. Director Elizabeth Banks and producers Phil Lord and Christopher Miller are incredibly funny people and have been known to make quality films previously. They are just as experienced as the Lake Placid crew. I wasn’t expecting Cocaine Bear to be my new favorite camp-fest, but I wish that there was some sincerity to its absurdity. The film, unfortunately, squanders its subject matter leaving the premise to be the sole draw of the film.
This is why I thought of Lake Placid immediately after leaving. At their core, these films share a similarity, horror comedies that are parodies of the monster film genre while also being over the top. The difference is that while Cocaine Bear is excessive in its premise compared to the more traditional take of Lake Placid on the monster genre, Cocaine Bear lacks the sincerity that makes
Lake Placid is so rewatchable. The film, while being an entertaining film on its own, perfectly captures the style and era of the late 90s/early 2000s horror films. Cocaine Bear, while taking place in the 80s, never seeks to capture the style. Style aside, the film more closely represents the newer, quicker experiences of current meme culture, being something that people will laugh at for a moment before moving on to the next offering.
A film can be as over the top as it wants, but if the sincerity isn’t there, then the whole experience feels hollow and not cherished. Cocaine Bear is reminiscent of the new Winnie the Pooh: Blood and Honey film that just released. It’s a film that’s not talked about for its actual quality but instead for its premise. The conversation becomes more of “Did you hear about this film?” rather than “Did you SEE this film?”. I’m not saying that Cocaine Bear is a poorly made-film. For what it is, it’s pretty fun, and apparent from the dialogue and some of the action scenes that everyone had a good time making it. However, I really struggle to see the lastability the film will have in the future. To be fair, Lake Placid isn’t a film that’s often talked about either, but between the two, I feel like it’s one that has greater staying power after watching. This is, to me, one of the main factors that make a cult film, a cult film. It doesn’t have to be good, but if it’s sincere and has that staying power, it will develop a cult following either instantly or over time. Perhaps culture now moves too quickly for cult films to fully cement themselves. I do hope that a film with a wild premise similar to Cocaine Bear can emerge as a modern cult hit, but I worry that current audiences are too quick to hop onto the next trend.
This is why I thought of Lake Placid immediately after leaving. At their core, these films share a similarity, horror comedies that are parodies of the monster film genre while also being over the top. The difference is that while Cocaine Bear is excessive in its premise compared to the more traditional take of Lake Placid on the monster genre, Cocaine Bear lacks the sincerity that makes Lake Placid so rewatchable.
Article Courtesy of Brodie Blizzard
Feature Image from Cocaine Bear dir. Elizabeth Banks
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