The star of Straight Outta Compton and Just Mercy draws on his film school past to crown the greatest in art and entertainment. Watch. You can add Little Women to the list! Take a look at even more movies and TV shows that were so nice docuental made ’em twice at. See the full gallery. In the s, ruthless Colombian cocaine barons invaded Miami with a brand of violence unseen in this country since Prohibition-era Chicago.
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Linda Holmes. Toronto International Film Festival hide caption. It’s structured, for about the first half of its running time, as a satirical instructional film about how to get your own drug cartel by working your way up from small-time dealer to local distributor to kingpin and beyond. It talks to a wide variety of dealers, cops and experts about the relationships between different parts of the drug business, about what makes kids want to sell drugs instead of working for minimum wage, and about the risks of jail and violence. It explains how people in the drug business beat criminal charges and avoid arrest, as well as explaining jail as a cost of doing business. But at some point, right around the time the film shifts its focus from the small-time dealing done by street retailers to the involvement of government agencies in making and executing laws, How To Make Money Selling Drugs largely drops its satirical structure. It becomes instead a straightforward film about the high costs of existing drug policy, arguing that it’s counterproductive to treat drugs like a primarily criminal issue rather than a primarily health-related issue. That’s hardly a new argument, but this film is unusually comprehensive in the way it brings together a variety of strands of thought in proposing that if prohibition isn’t the right solution for alcohol, it might not be the right solution for just about everything except alcohol. At one point, a former dealer explains that when he was in prison, he knew guys who were in jail for life on marijuana convictions — but the same guys could buy tobacco cigarettes from the jail for 50 cents a pack. That makes no sense to him, he says. Director Matthew Cooke has brought together an impressive roster of people to speak in the film: 50 Cent, Eminem, Susan Sarandon, Woody Harrelson, David Simon whose The Wire is frequently referenced — and those are just the Hollywood people, not the people you’ve never heard of, like actual cops and dealers.
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Harrelson doesn’t speak explicitly to why exactly he’s in this film about problematic drug policy, but he does opine that people either have the freedom to do as they please as long as they don’t hurt others, or they aren’t truly free. At that point, he’s rather amusingly captioned on screen as «Woody Harrelson: Freedom Enthusiast. Don’t misunderstand the film’s strong skepticism about the heavy criminalization of drug use; it also spends time on the issue of addiction and the dangers of unchecked consumption.
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The film premiered at the Toronto International Film Festival [2] and was theatrically released in June The documentary starts out as a mock guide to how to be a successful pusher, explains how drug dealers, smugglers, kingpins and drug lords make money and the risks involved, with the ultimate aim of setting the stage for the real purpose for the film. It then seriously examines what perpetuates the War on Drugs and criticizes it, while providing suggestions and opinions from those trying to deal with the problem of drugs from outside of the institutionalized and incentivized war. From Wikipedia, the free encyclopedia. Bert Marcus Productions [1] Reckless Productions [1]. Gray Woody Harrelson John E. Harriel Jr.
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