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Movie Review

Naomi Watts battles the elements and grief in Infinite Storm

Alex Bentley
Mar 25, 2022 | 3:10 pm
Naomi Watts in Infinite Storm. play icon
Naomi Watts in Infinite Storm.
Photo courtesy of Bleecker Street

If her 2021 films are any indication, actress Naomi Watts enjoys spending time in nature, facing challenging situations. In The Desperate Hour, she played a mom who finds out about a school shooting at her son’s school while on a run in the woods, forcing her into a long and anguished trek back to town. Now, in Infinite Storm, she spends a lot of time in the New Hampshire wilderness, with a heroic goal of keeping another man alive.

Watts plays Pam Bales, a real-life member of the Pemigewasset Valley Search & Rescue Team in New Hampshire. A woman with some life trauma that goes undefined for most of the film, she often goes hiking by herself in the Mount Washington area, mostly as a form of therapy.

On the particular winter day in the film, she sets out for a long hike knowing the weather might be bad at the top. She’s soon hiking through deep snow in a fierce winter storm when she notices footprints leading toward the top of a peak. There, she finds an almost catatonic man, whom she needs to convince to get off the mountain if either of them is going to survive.

Directed by Polish filmmaker Malgorzata Szumowska and written by first-time screenwriter Joshua Rollins, the film surprisingly does not take the route that most films of this ilk do. Although the film shows the various ups and downs Pam and the man, whom she calls John, experience during their trek, it doesn’t attempt to document every moment. Instead of milking every dangerous situation to amp up emotions, the filmmakers often fast forward past them, alluding to the risk but rarely staying with it for too long.

This storytelling choice does make things confusing at times, though. Certain scenes with Pam, some of which contain have her recalling flashes of memories from earlier in her life, have the feel of hallucinations, making it unclear if she’s actually seeing what we’re shown. This is especially true in a couple of moments where the man gets further away from Pam than one would think someone rescuing a person would allow.

The film’s third act is also wholly unexpected, one that upends any predictions on how a film like this would normally end. Ultimately, the title of the film doesn’t refer to the conditions that Pam and John have to endure on their way down the mountain, but rather the fragile emotional state that each of them has endured at different points in their lives.

Points go to the cast and crew of the film for actually going out in the elements to make the snowbound story. Instead of relying on CGI or other ways of faking the extreme weather, filming was done in the Slovenian Alps. Not to take anything away from Watts or Billy Howle, who plays John, but a good portion of their acting work is done merely by being present in those conditions.

Watts hasn’t exactly taken a Liam Neeson turn, but if you put together these two films with 2012’s The Impossible, she’s kind of created a “one woman against the world” reputation. Despite being with another person for most of the film, Watts is almost solely responsible for the success of the film, as she drags John, herself, and the viewer to the finish line.

While it could have had a more powerful impact if the filmmakers had gone the “easy” route, Infinite Storm earns respect with its relatively light touch and old school filmmaking. After going through back-to-back trauma-filled films, Watts deserves a break, but it’s clear she excels when her characters’ lives are at their bleakest.

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Infinite Storm opens in theaters on March 25.

Billy Howle in Infinite Storm.

Billy Howle in Infinite Storm
Photo courtesy of Bleecker Street
Billy Howle in Infinite Storm.
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Movie Review

Meta-comedy remake Anaconda coils itself into an unfunny mess

Alex Bentley
Dec 26, 2025 | 2:30 pm
Jack Black and Paul Rudd in Anaconda
Photo by Matt Grace
Jack Black and Paul Rudd in Anaconda.

In Hollywood’s never-ending quest to take advantage of existing intellectual property, seemingly no older movie is off limits, even if the original was not well-regarded. That’s certainly the case with 1997’s Anaconda, which is best known for being a lesser entry on the filmography of Ice Cube and Jennifer Lopez, as well as some horrendous accent work by Jon Voight.

The idea behind the new meta-sequel Anaconda is arguably a good one. Four friends — Doug (Jack Black), Griff (Paul Rudd), Claire (Thandiwe Newton), and Kenny (Steve Zahn) — who made homemade movies when they were teenagers decide to remake Anaconda on a shoestring budget. Egged on by Griff, an actor who can’t catch a break, the four of them pull together enough money to fly down to Brazil, hire a boat, and film a script written by Doug.

Naturally, almost nothing goes as planned in the Amazon, including losing their trained snake and running headlong into a criminal enterprise. Soon enough, everything else takes second place to the presence of a giant anaconda that is stalking them and anyone else who crosses its path.

Written and directed by Tom Gormican, with help from co-writer Kevin Etten, the film is designed to be an outrageous comedy peppered with laugh-out-loud moments that cover up the fact that there’s really no story. That would be all well and good … if anything the film had to offer was truly funny. Only a few scenes elicit any honest laughter, and so instead the audience is fed half-baked jokes, a story with no focus, and actors who ham it up to get any kind of reaction.

The biggest problem is that the meta-ness of the film goes too far. None of the core four characters possess any interesting traits, and their blandness is transferred over to the actors playing them. And so even as they face some harrowing situations or ones that could be funny, it’s difficult to care about anything they do since the filmmakers never make the basic effort of making the audience care about them.

It’s weird to say in a movie called Anaconda, but it becomes much too focused on the snake in the second half of the film. If the goal is to be a straight-up comedy, then everything up to and including the snake attacks should be serving that objective. But most of the time the attacks are either random or moments when the characters are already scared, and so any humor that could be mined all but disappears.

Black and Rudd are comedy all-stars who can typically be counted on to elevate even subpar material. That’s not the case here, as each only scores on a few occasions, with Black’s physicality being the funniest thing in the movie. Newton is not a good fit with this type of movie, and she isn’t done any favors by some seriously bad wigs. Zahn used to be the go-to guy for funny sidekicks, but he brings little to the table in this role.

Any attempt at rebooting/remaking an old piece of IP should make a concerted effort to differentiate itself from the original, and in that way, the new Anaconda succeeds. Unfortunately, that’s its only success, as the filmmakers can never find the right balance to turn it into the bawdy comedy they seemed to want.

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Anaconda is now playing in theaters.

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