Anaconda

I headed into this 2025 reimagining of ANACONDA - not a remake! - with a mix of cautious optimism and a heavy dose of nostalgia for the 1997 original. Having followed Tom Gormican's knack for meta-humor, I was curious to see if he could successfully transplant that self-aware energy into a creature feature. What I found was a film that thrives when it leans into its own absurdity, particularly through a movie-within-a-movie satire that mirrors the chaotic, often delusional passion of indie filmmaking. The central dynamic between Paul Rudd and Jack Black is the undeniable heartbeat of the experience; their natural chemistry makes the midlife-crisis subtext feel surprisingly grounded amidst the jungle mayhem. However, the true scene-stealer is Selton Mello, who delivers a hilariously eccentric performance that perfectly captures the film's comedic aspirations. It's a journey that feels like a heartfelt tribute to the struggle of creation, even when the actual "creation" is a B-movie disaster. Despite these highs, the film frequently trips over its own tonal inconsistencies, struggling to bridge the gap between sharp Hollywood satire and a genuine horror-thriller. This imbalance is most apparent in the lackluster VFX; the titular snake often feels weightless and digital, lacking the physical menace that made the original's animatronics so memorable. My biggest disappointment, however, lies in how the script handles its supporting cast. As someone who has championed Daniela Melchior from the start, seeing her relegated to such an underdeveloped, shallow role was frustrating — she, just like Thandiwe Newton, deserves much more than being mere background noise to the lead duo's antics. Coupled with a redundant subplot involving illegal miners that adds unnecessary bloat, the movie loses its way whenever it drifts from its core comedic premise. Ultimately, ANACONDA is a fun, meta-experiment that works best as a character-driven comedy, even if it fails to leave a lasting mark as a creature feature. Rating: B-