After working on both the Oscar-nominated Deliver Us From Evil and Adrian Grenier‘s Teenage Paparazzo, Matthew Cooke is set to premiere his directorial documentary debut, How to Make Money Selling Drugs this fall. At first glance, it seems like another take on topics Steven D. Levitt and Stephen J. Dubner explored in their excellent book Freakonimics. But this one has an added dose of celebrity.
Rappers Eminem, 50 Cent and Rick Ross discuss their upbringing that dealt with the drug trade, while The Wire creator David Simon talks about the economics of the industry. There’s also DEA agents talking about the other side of the dangerous business. And for some reason Woody Harrelson and Susan Sarandon also show up in the feature. Cut together like an informercial regarding the title, we’ve got the promising first trailer, which gives us an inside look at this $400 billion industry. Check it out below, along with some photos, for the film premiering at TIFF.
TIFF kicks off on September 6th.
Since any New York City cinephile has a nearly suffocating wealth of theatrical options, we figured it’d be best to compile some of the more worthwhile repertory showings into one handy list. Displayed below are a few of the city’s most reliable theaters and links to screenings of their weekend offerings — films you’re not […]
In the case of evaluating David Cronenberg, — or at least forming the sort of career narrative seemingly essential to auteurist analysis — it’s inevitable to propose something of a rupture within his oeuvre: the very evident graduation from grindhouse to arthouse, and, with it, an ascension from body to mind. What dictated these labels […]
Every week we dive into the cream of the crop when it comes to home releases, including Blu-ray and DVDs, as well as recommended deals of the week. If we were provided screener copies, we’ll have our own write-up, but if that’s not the case, one can find official descriptions from the distributors. Check out […]
Writing about the films of Robert Bresson usually begins by informing reader that his films must be discussed through a trance of hushed tones and quiet veneration. There is no room for rushed judgement or quick-witted observations; Bresson makes Serious Art, as opposed to Hollywood directors who do not. There are the key phrases to […]
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