Cocaine Bear appears in an aspect ratio of 2.39:1 on this 4K UHD Disc. The movie came with an excellent presentation.
Sharpness always looked strong. Nary a sliver of softness occurred during this tight, precise image.
I witnessed no signs of jagged edges or shimmering, and edge haloes failed to mar the picture. Print flaws remained absent.
Colors went with a fairly subdued emphasis on light teal and threw in some amber as well. The tones suited their design choices, and HDR added impact and punch to the hues.
Blacks felt deep and dense, while shadows appeared smooth and concise. HDR brought range and power to whites and contrast. This became a terrific rendition of the film.
Though not tremendously active, the movie’s Dolby Atmos soundtrack added some life to the proceedings. Downconverted to Dolby TrueHD 7.1, the occasional scenes of action and mayhem gave the tale the most vivid material.
These used the speakers in an involving manner and created a good soundscape. Sequences such as this didn’t occur frequently enough to make the soundfield a consistent winner, but they added verve to the tale.
Audio quality worked fine, with speech that seemed natural and concise. Music showed nice range and impact.
Effects demonstrated accurate, full tones with solid low-end. Again, this never became a great soundtrack, but it seemed more than satisfactory.
How did the 4K UHD compare to the Blu-ray version? The Atmos audio expanded the BD’s mix a bit but didn’t seem revelatory.
A true 4K product, the UHD disc looked amazing, as it seemed tighter and more vivid than its BD counterpart. While the latter looked great, it couldn’t compete with this stellar 4K presentation.
When we move to extras, we open with an audio commentary from director/producer Elizabeth Banks and producer Max Handelman. Both sit together for this running, screen-specific look at story/characters and the source, cast and performances, sets and locations, various effects, influences, inspirations and Easter eggs, music, costumes, production design and 80s elements, music, stunts/action and related topics.
Banks heavily dominates the commentary, and that works for me, as she makes it a good ride. We learn a lot about the production in this engaging and informative chat.
In addition to an Alternate Ending (0:48) that features a character left for dead in the final cut, we get three Deleted & Extended Scenes. These occupy four minutes, 33 seconds.
These three feature more of the Sari character. None seem essential, but all offer some intrigue. The “Ending” seems reasonably interesting as well.
A Gag Reel spans one minute, 54 seconds and delivers the standard goofs and giggles. Other than some improv lines from Isiah Whitlock, nothing especially interesting arises.
Three featurettes follow, and All Roads Lead to Cokey goes for nine minutes, 14 seconds. It brings notes from Banks, visual effects supervisor Robin Hollander, bear performer Allan Henry, visual effects producer Petra Holtorf-Stratton, producers Phil Lord and Chris Miller, and actors Matthew Rhys, O’Shea Jackson Jr., Isiah Whitlock Jr., Margo Martindale, Christian Convery, Alden Ehrenreich, Jesse Tyler Ferguson, Aaron Holliday, Keri Russell, Kristofer Hivju, and Brooklynn Prince.
“Roads” covers the source facts and their move into the movie, Banks’ approach to the material, cast and performances, and bringing the bear to life. Despite a few insights, much of “Roads” feels superficial.
Unbearable Bloodbath runs eight minutes, 16 seconds and features Ferguson, Martindale, Banks, Russell, makeup designer Liz Byrne, 2nd unit director/stunt coordinator Melissa Stubbs, special effects floor supervisor Brian Mulvey, and actors Leo Hanna and Scott Seiss.
As implied by the title, “Bloodbath” tells us about aspects of the movie’s violent scenes. Though nothing deep, we get some decent notes about stunts and effects.
Finally, Doing Lines goes for four minutes and features Hivju, Prince, Convery, Jackson, Hanna, Handelman, Ehrenreich, Holliday, Whitlock, Banks, producers Brian Duffield and Aditya Sood, and actor JB Moore.
They read snatches of the script in an overly dramatic manner. Why? I don’t know, but it proves mildly amusing.
A second disc provides a Blu-ray copy of Bear. It includes the same extras as the 4K.
Note that all the supplements subtitles listed under the disc’s specs apply solely to the Blu-ray, as the 4K omits any text for its bonus materials.
The Blu-ray opens with ads for M3GAN and Violent Night. No trailer for Bear appears on either the 4K or the Blu-ray discs.
With its goofball premise, Cocaine Bear should have provided a silly but entertaining thrill ride. Instead, it cannot choose its own genre so it turns into a messy morass that never connects. The 4KUHD boasts excellent visuals, generally positive audio and a mix of bonus materials. Expect a surprisingly slow and dull flick from this one.
To rate this film visit the Blu-Ray review of COCAINE BEAR