Anaconda Returns as a Self-Aware Comedy Powered by Jack Black and Paul Rudd
So, there’s been a lot of buzz lately around Anaconda , but this time it’s not about a straight-up horror reboot. Instead, what’s been delivered is a surprisingly self-aware comedy that plays with nostalgia, Hollywood reboot culture, and the idea of unrealized dreams. The 1997 cult creature feature has been shed like old snake skin and reborn as a meta-comedy, and it’s fronted by the unlikely but charming pairing of Jack Black and Paul Rudd.
The movie opens in a way that might raise a few eyebrows. There’s an attempt at a traditional horror-style cold open, but it’s quickly clear that tension and fear aren’t really the point here. That early awkwardness soon gives way to what the film actually wants to be: a goofy, self-referential story about two middle-aged friends who once dreamed of making movies together and never quite got there.
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Jack Black plays Doug, a would-be filmmaker who has settled into life as a wedding videographer in his hometown. Meanwhile, Paul Rudd’s Griff chased the Hollywood dream in Los Angeles but is barely hanging on, struggling with nerves and tiny acting gigs. When the two reunite for Doug’s birthday, a wild idea is floated. It’s claimed that the rights to Anaconda have somehow been secured, and why not remake it themselves, cheaply and chaotically, just like they always talked about as teenagers?
Before long, a group of old friends is pulled together, including Steve Zahn and Thandiwe Newton, and they’re off to the Amazon on a boat, planning to shoot their own version of a giant-snake movie. What follows is less about terror and more about watching these characters stumble through filmmaking, friendship, and half-baked ambition. The movie works best when it leans into montage, brainstorming sessions, and absurd conversations about “themes” and whether their snake movie is a remake or a “spiritual sequel.”
Paul Rudd shines with small, awkward affectations, while Jack Black is more restrained than usual, though his trademark intensity still pops up at just the right moments. Not everything lands. The film sometimes mistakes self-awareness for cleverness, and the attempts at genuine suspense feel undercooked. Even the bigger, slicker CGI snake lacks the tactile charm of the old-school effects from the original.
Still, the warmth between the leads carries the film a long way. The sweetness never becomes overwhelming, and the silliness is allowed to breathe. In the end, Anaconda doesn’t try to be a true horror-comedy. It’s better understood as a throwback studio comedy, smuggled into theaters under the disguise of familiar IP. It may not reach classic heights, but it proves there’s still room for big laughs, self-mockery, and a giant snake along the way.
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