| Videos (see all 3 NEW) |
| Jon Roberts | ... | Himself | |
| Al Sunshine | ... | Himself | |
| Sam Burstyn | ... | Himself | |
| Mickey Munday | ... | Himself | |
| Bob Palumbo | ... | Himself | |
| Toni Mooney | ... | Herself | |
| Edna Buchanan | ... | Herself | |
| Joseph Davis | ... | Himself (as Dr. Joseph Davis) | |
| Al Singleton | ... | Himself | |
| Louis Caruso | ... | Himself | |
| Raul Diaz | ... | Himself | |
| Jorge Ayala | ... | Himself (as Jorge 'Rivi' Ayala) | |
| Nelson Andreu | ... | Himself | |
| rest of cast listed alphabetically: | |||
| Griselda Blanco | ... | Herself (archive footage) | |
| Kelly Hughes | ... | Girl in apt | |
| Jenna Reeves | ... | Girl In Ocean | |
| Monica Rooker | ... | Grizel Lorenzo | |
| Alfred Spellman | ... | Chucho Castro | |
Directed by | |||
| Billy Corben | |||
Produced by | |||
| Billy Corben | .... | producer | |
| David Cypkin | .... | associate producer | |
| Bruno del Granado | .... | executive producer | |
| Alfred Spellman | .... | producer | |
Original Music by | |||
| Jan Hammer | |||
Cinematography by | |||
| Armando Salas | |||
Film Editing by | |||
| Billy Corben | |||
| David Cypkin | |||
Makeup Department | |||
| Robin Ryant | .... | hair stylist | |
| Robin Ryant | .... | makeup artist | |
Sound Department | |||
| Juan Dieguez | .... | sound designer | |
| Paul Michael | .... | sound re-recording mixer (5.1 version) | |
| Lenny Rabinowitz | .... | sound re-recording mixer | |
Special Effects by | |||
| Kevin Harris | .... | special effects | |
| John Patteson | .... | special effects | |
Camera and Electrical Department | |||
| Mariah Diehl | .... | assistant camera (as Mariah T. Diehl) | |
| Josh Ellis | .... | grip | |
| Mike Gioulakis | .... | grip | |
| Brett Jacobsen | .... | grip | |
| Evan Rosenfeld | .... | grip | |
| Zachary Sieffert | .... | assistant camera | |
| Robert Villanueva | .... | grip | |
| Erika Waddey | .... | grip | |
| Kara Yeatts | .... | grip | |
Editorial Department | |||
| Bradley Greer | .... | on-line editor | |
| Matt Perrin | .... | colorist | |
| Jeffrey Spiegelman | .... | post-production assistant | |
| Shawn Wines | .... | apprentice editor | |
Music Department | |||
| Eric Ransom | .... | composer: additional music | |
Other crew | |||
| Benton L. Becker | .... | researcher | |
| David A. Carter | .... | legal services | |
| Michael V. Finuccio | .... | accountant | |
| Wesley Marquet | .... | researcher | |
| Dario Moreno | .... | researcher | |
| Edward Mullins | .... | legal services | |
| Edward Shohat | .... | researcher | |
| Robert Villanueva | .... | production assistant | |
| Matthew Weiner | .... | logo designer | |
Thanks | |||
| Mariauxy Castillo | .... | special thanks | |
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| News articles | IMDb Documentary section | IMDb USA section |
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Cocaine Cowboys is narrowly focused on how Miami became the drug capital and the most dangerous city in the United States during the late 1970s and the early 1980s. The film is lasciviously fascinated with the lavish lifestyle and the grotesque violence generated by the drug trade. Many obviously find such material quite fascinating. There's no denying that several anecdotes shared by dealers, smugglers, cops and veteran reporter Edna Buchanan are very amusing. Fans of TV's Miami Vice and Brian de Palma's Scarface are advised to rush to a theatre playing this film. They'll find that the real-life models of the fictional villains are even more flamboyant and vicious (the life of Griselda "the godmother" Blanco could be turned into a nifty fiction film). CocaineCowboys combines talking-head interviews with old TV footage in rat-tat-tat editing style. Shots of piles of cash and large stashes of cocaine are used as would-be punctuation marks; and there are more snapshots of bloody, perforated bodies than you've ever seen in your life.
Cocaine Cowboys is documentary film-making as tabloid journalism. Its cheap thrills provide a measure of entertainment but its reportage is devoid of context and thoughtful commentary. Director Billy Corben is a native, but as one born in 1979 his view of the material is decidedly second-hand. Towards the latter stages, Cocaine Cowboys strains to present Miami as "the city that cocaine built" by hyperbolically describing late-70s Miami as a "sleepy hamlet". There is some truth to the argument but it is a self-serving and simplistic one. Moreover, the content as presented here is likely to perpetuate certain ethnic stereotypes about the Colombian community and Cuban "marielitos" (Cubans who arrived when Castro allowed migration to the US through the port of Mariel in 1980).