There are countless ways to revisit a piece of ’90s pop cinema, and most approaches tend to be cynical, joyless, or both. This film takes a much better route: it understands why something once dismissed can later be cherished, and it builds its comedy around that affection rather than apologizing for it.
The setup is delightfully absurd. A group of longtime friends reunites for a birthday celebration, nostalgia loosens everyone’s judgment, and a wild idea takes hold. Having newly acquired the rights to “Anaconda,” a film that loomed large in their teenage years, they decide to shoot a “spiritual sequel.” It’s the kind of plan that seems brilliant at midnight but disastrous by morning. Naturally, their already shaky production goes entirely off the rails when a very real anaconda enters the scene and begins treating the cast like an all-you-can-eat buffet.
What makes this film work is its understanding of its inspiration. The original “Anaconda,” starring Jennifer Lopez and featuring Jon Voight in full scenery-chewing mode, was savaged by critics but was successful enough to spawn multiple sequels of steadily declining quality. Over time, it found a cult following that embraced it not despite its flaws but because of them. This film taps directly into that energy without trying to “fix” it.
Director Tom Gormican, in collaboration with writer Kevin Etten, leans hard into meta-humor, but does so with a light touch. Instead of being a remake or reboot, the story becomes a comedy about fandom, arrested development, and the desperate hope that finishing a long-abandoned dream might somehow straighten out adult life.
The casting is a significant asset. Jack Black and Paul Rudd are clearly having a blast, delivering some of their loosest and funniest performances in years. The supporting ensemble—including Thandiwe Newton, Daniela Melchior, and a scene-stealing Steve Zahn—keeps the momentum lively and unpredictable.
Where the film falters is in its horror mechanics. The snake appears and disappears as needed, undermining any real tension, and the scares feel more obligatory than essential. However, that’s hardly a deal-breaker. The film was never about terror; it’s about comedy, memory, and the shared language of movies we loved in our youth.
In the end, the film earns its charm by being funny, self-aware, and surprisingly warm. In a marketplace oversaturated with hollow revivals, it finds its niche by knowing precisely what it is—and why anyone would want it in the first place.
Final Grade: B
“Anaconda” is in theaters now.
Aldis Hodge is back on the case as Alex Cross for Season 2 of Prime Video’s “Cross”. Ben Watkins returns as showrunner, with directors including Stacy Muhammad and Craig Siebels.
Civil War dramas often measure valor through cannon fire and cavalry charges. However, “The Gray House*“valuates valor through coded messages, calculated risks, and the steady nerves of women who understood that information could be deadlier than any rifle. This eight-episode limited series reframes the conflict not from the battlefield, but from the drawing rooms of Richmond, where loyalty is performed, and survival depends on silence.
It’s been a month since I finished my first run at Sundance, and I’m finally getting the chance to see some of the films I missed as they began to premiere. One of those films is “In the Blink of an Eye,” which is available on Hulu. The film is directed by Andrew Stanton and written by Colby Day.