Skip to main content

Anaconda (2025)


Anaconda (2025)
is a reboot comedy of the 90s film, written and directed by Tom Gormican, who previously delivered the clever and self-aware The Unbearable Weight of Massive Talent. Unfortunately, that lightning does not strike twice. The core problem is simple. The jokes do not land. If horror films are judged by scares per minute, then comedies should be judged by laughs per minute, and this one delivers virtually none. Any humor that works was already burned in the trailer, leaving the film feeling empty and painfully drawn out.

Jack Black, known for School of Rock and Jumanji, leans heavily into his loud, chaotic persona, but here it becomes grating rather than charming. His performance feels unchecked and repetitive, as if volume alone is meant to substitute for comedy. Instead of elevating scenes, he often drains them of momentum.

Paul Rudd, who audiences know from Ant-Man and I Love You, Man, somehow comes off just as irritating. Rudd is usually likable even in weak material, but the script gives him nothing to work with beyond forced reactions and limp punchlines. His natural charm is buried under humor that feels tired and mechanical.

Steve Zahn, familiar from Saving Silverman and Dallas Buyers Club, plays intentionally stupid to an exhausting degree. What might have worked in small doses becomes overused, turning his character into a one-note distraction rather than comic relief.

Thandiwe Newton, known for Westworld and Crash, is oddly cast here. She looks great, but the costuming and character design work against her, making her feel completely out of place in the film’s tone. She is clearly capable of far more than what she is asked to do, which only makes her presence more puzzling.

By the end, the film feels less like a parody and more like a missed opportunity. The pacing drags, the humor is nonexistent, and boredom sets in quickly. For a comedy, that is the worst possible outcome. Result: D

Comments

Popular posts from this blog

Psycho Killer (2026)

Psycho Killer (2026) is a religious-tinged detective thriller that leans far more into procedural tension than outright horror. Directed by Gavin Polone , who is better known as a producer than a filmmaker, the movie benefits heavily from its screenplay by Andrew Kevin Walker , the writer behind Se7en . His fingerprints are all over this. The writing is sharp, layered with foreshadowing that only fully clicks at the end, and structured in a way that constantly feels like it is building toward something inevitable. The gorgeous  Georgina Campbell plays the detective tracking down the titular killer, and she carries the film with confidence. You'll remember her from Barbarian and recently Cold Storage.  The script gives her plenty of emotional range to explore, from controlled professionalism to visible cracks under pressure. She handles the lore-heavy exposition well and grounds what could have been overwhelming backstory. It is another strong showing for her and proof she c...

Cold Storage (2026)

Cold Storage (2026) is a sci fi horror thriller that surprised me in a good way. The writing is solid enough that it actually calmed some of my worries about Disclosure Day coming later this year since the same writer is involved. The story holds together and stays engaging, even when the visuals do not. The CG is laughably bad at times, but the acting/chemistry keeps the movie watchable. Jonny Campbell directs, with the screenplay by David Koepp , known for Jurassic Park and Spider-Man . His writing here is tighter than expected, which is why it gives me more confidence about Disclosure Day. The direction is straightforward and lets the script do most of the work, even if the effects budget clearly limits what can be shown on screen. He needs a redemption after  Indiana Jones and the Crystal Skull. Joe Keery , known for Stranger Things and Free Guy , is the main reason I showed up. He proves he can handle a leading role after Stranger Things and carries the film with a relax...

Crime 101 (2026)

Crime 101 (2026) is a crime thriller that checks the basic boxes of what should work, but the writing never tightens enough to make it compelling. It hits familiar beats, runs longer than it should, and never quite earns its tension. It feels like a good movie outline stretched into a full runtime. Bart Layton , known for American Animals and The Imposter , directs, and his uneven filmography shows here. The structure is serviceable, but the pacing drags and the scenes lack urgency. The direction is competent without being memorable, and the film never finds a sharp identity. Chris Hemsworth , known for Thor and Extraction , plays the reclusive criminal at the center of the story. He tries to lean into a quieter, more internal performance, but he does not fully sell the damaged foster child mentality the script is aiming for. The performance feels like an attempt rather than a transformation. Mark Ruffalo , recognized for Spotlight and The Avengers , feels like he is on autopilo...