Stream of the Week: How to Make Money Selling Drugs

HOW TO MAKE MONEY SELLING DRUGS

Filmmaker Matthew Cooke’s documentary How to Make Money Selling Drugs is a dispassionate critique of the Drug War.  Using the How To format as an attention grabber, Cooke presents the job opportunities in illegal drug commerce as rational economic decisions  How much money can you make as a street dealer?  As a drug smuggler or kingpin?  What is the risk that you will need to defend your product inventory from a violent robbery?  What are the risks that you will be incarcerated?  How do those risks change if you are African-American?

The talking heads are former industry insiders, ranging from former street dealer 50 Cent to big league smuggler Brian O’Dea and notorious LA druglord Freeway Rick.

How to Make Money Selling Drugs is effective because Cooke generally strips away the value judgements and lets the audience draw its own conclusions, balancing out the risks and rewards.  The final risk presented, that of addiction, is particularly sobering.  (How to Make Money strays from this approach just once, with a Woody Harrelson diatribe.)    I expect that most viewers will conclude that 1) drug dealing is not a great long-term career path; and 2) the Drug War has not been effective in reducing drug abuse or illegal commerce.

How to Make Money Selling Drugs is available streaming from Amazon, iTunes and Vudu.

Bill W.: the reluctant founder of a movement

The excellent documentary Bill W. tells the story of Bill Wilson, the founder of Alcoholics Anonymous, and it’s quite a story.  We see Wilson’s own battle with the bottle, including a pivotal moment when he is about to enter a hotel bar in Akron, but instead decides “to call another drunk”.  The story follows his cobbling together what became the 12 step model and his keeping alive the AA movement in its early days.  But the most compelling story – and the heart of the film – is Bill Wilson.

Wilson was a reluctant movement leader.  His primary passion was for business, in which his drinking killed his potential success.  Instead, he achieved fame and historical importance in a field not of his choosing.  As the founder, he could have easily formed AA into a hierarchy with himself at the top – and AA as his personal power base.  But, once AA could stand on its own, he chose to walk away from its leadership.  His decision not to commercialize AA deprived himself of a millionaire’s lifestyle.

Producer and co-director Dan Carracino reminded the audience at my screening that the movie aims to tell the story of Bill Wilson, not to be an exhaustive history of AA.

Because Bill W. primarily uses historical film footage and photos for visuals, and the recorded voice of Wilson himself, along with talking heads who knew him, the audience gets a solid sense of his personality.  There are some visual re-enactments (of Wilson’s drinking days  and early AA meetings) that are successful because they are narrated by the real Bill W. himself.

I was fortunate to see the film in an audience that contained over 200 AA members, and they responded especially favorably to the film.  At its core, Bill W. tells a fascinating story, and I would recommend it for anyone.  Bill W. is being self-distributed with both special screenings and theater runs in various cities.

Oslo August 31: authentic, but why?

The Norwegian drug addict Anders has been clean and sober after ten months in rehab, and has earned a day pass for a job interview in Oslo.  In rehab, he has had plenty of opportunity to take stock of himself and the impact that his drug habit has wreaked upon his disappointing career and upon his family and friends.  Anders concludes that the best response is to take his own life.  First, he takes advantage of his day pass to seek out his best friend and his own family.

Oslo August 31 is well-crafted and utterly authentic.  But, why was this movie made?  What is its contribution to art or entertainment or our knowledge or our experience?  Where is the payoff for the audience that makes the grim inevitability worth ten bucks and 95 minutes?

There’s one particularly spell-binding scene with superb sound design.  As Anders is waiting for someone in a cafe, he eavesdrops on the other patrons.  As he glances from table to table, we hear the conversation of each set of diners.  It’s very cool.

Unusual for a film about drug addiction, Oslo August 31 depicts only one instance of hard drug use – and that injection is not to get high.

The Danish director Joachim Trier previously made Reprise, a wonderful film about sanity and the creative process in which two young novelists send in their manuscripts at the beginning of the film, just before one suffers a psychotic breakdown.   Reprise was #4 on my list of Best Movies of 2008.

Coming up on TV: Fat City

Stacy Keach and Jeff Bridges in FAT CITY

Turner Classic Movies is broadcasting the under appreciated Fat City (1972) on June 18.  Stacy Keach plays a boxer on the slide, his skills unraveled by his alcoholism. He inspires a kid (a very young Jeff Bridges), who becomes a boxer on the rise.  Keach and Susan Tyrrell give dead-on performances as pathetic sad sack barflies.  Tyrrell was nominated for the Best Supporting Actress Oscar.

The great director John Huston shot the film in Stockton, and Fat City is a time capsule for the Central Valley in the early 70s.

Fat City has made two of my lists: Best Boxing Movies and Best Drug Movies.

Susan Tyrrell in FAT CITY

A Very Harold & Kumar 3D Christmas: light up and lighten up for the Holidays

Come on, you’re yearning to see our irresistible stoners in a Christmas movie.  There’s not much of a story here – just the two appealing characters and lots and lots of jokes.  The light hearted but very raunchy humor targets recreational drugs, racial stereotypes, the 3D movie fad, and lots more.

Neil Patrick Harris returns in another hilarious cameo.  And the reliably frightening Danny Trejo shows up as Harold’s menacing new father-in-law.  See my Danny Trejo and his scary friends.

You don’t need to see this movie in 3D.  I saw it in 2D and enjoyed the 3D jokes, which are apparent in 2D.

Touching Home

Touching Home is a little movie with a big performance by Ed Harris  The film was written and directed by and stars the Miller twins, Logan and Noah, who tell the story of their own alcoholic father.  The authenticity of the writing and Harris’ performance make this an exceptionally realistic depiction of alcoholism.

Touching Home was also shot on location in the Miller’s home turf of western Marin County, California, around Lagunitas and Bodega.  Those familiar with West Marin will recognize many locations.