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    Live Music Now

    Here are the 6 best concerts in Houston this week

    Johnston Farrow
    Johnston Farrow
    Dec 4, 2018 | 2:20 pm

    The CultureMap weekly live music column is usually a chronological affair, taking readers through the biggest, best, and most noteworthy shows day-by-day. But this week, we're going to skip to the most important first because it's that big of a deal and will likely be some of the biggest shows of the year.

    The Rocket Man himself, Sir Elton John will make what he says to be his last appearance on a Houston stage as a performer this weekend, capping a legendary career with his Farewell Yellow Brick Road tour. While music retirements are usually as hard and fast as comic book character deaths, there is a legitimate chance this one will stick. The 71-year-old is a gazillionaire, has sold almost as many albums (over 300 million), influenced countless musicians, has little left to prove, and nothing more to accomplish. At this point, he's doing it because he was born to do it, music is simply the same to him as breathing (with big thanks to his mum in the recent poignant, tear-jerking Christmas ad).

    It would be nearly impossible to list all of his hits here, especially since he achieved at least one Top 40 song every year from 1970 to 1999. But expect to hear his biggest, "Candle in the Wind," "Bennie and the Jets," "Don't Let the Sun Go Down On Me," "Goodbye Yellow Brick Road," "Your Song," "I Guess That's Why They Call It the Blues," among many others.

    It's not shocking that both his Saturday and Sunday show are completely sold out. But if you are a fan and have access to a savings account, the money it will take to buy a ticket on the resale market it will be worth it to see one of most talented stars in the history of music tickle the ivories one more time. His talents as a live performer will be missed.

    Elton John says farewell to all the tiny dancers at the Toyota Center, located at 1510 Polk St., on Saturday, December 8 and Sunday, December 9. Tickets start at $195 on the resale market. Doors open at 7 pm.

    Born Ruffians at White Oak
    Toronto indie-rock act Born Ruffians made waves in their native land since their inception in the mid-aughts, but are making a play for relevancy in the U.S. The three-piece has toured with some of the indie-rock circuit's best including Franz Ferdinand, Peter Bjorn and John, and Caribou, their eclectic indie rhythms combined with folky melodies. Their latest is Uncle, Duke & the Chief.

    Born Ruffians play White Oak Music Hall, located at 2915 N Main St., on Tuesday, December 4. Little Junior opens. Tickets are $15 plus service fees. Doors open at 7 pm.

    CultureMap recommends: Nashville rising star Maggie Rose
    Singer-songwriter Maggie Rose is making big waves in her homebase of Nashville and beyond, gaining notices in major music publications, including NPR, Vogue, and USA Today, for her multi-genre style outside of country. She's touring with a 13-piece band, resulting in a blast of soul, funk, rock 'n roll, blues, gospel, and pop. Instead of Dolly, it's way more Arethra, allowing Rose's powerhouse voice to shine, embracing her inner diva.

    Maggie Rose performs at Warehouse Live, located at 813 St Emanuel St, on Friday, December 7. Oliver Penn opens. Tickets start at $10 plus service fees. Doors open at 7 pm.

    '70s R&B and soul with The Commodores and The Temptations
    It's an oldies double-bill at Arena Theatre this Friday as The Commodores and The Temptations are responsible for some of the biggest hits of the pop, R&B, and soul of the '60s, '70s, and '80s. The former act is mostly famous for when Lionel Ritchie was a co-lead singer and songwriter in the band before venturing off as a solo artist. Their song include the best of A.M. radio, "Three Times a Lady," "Easy," and "Nightshift." The Temptations are just as famous for their sweet, sweet melodies and dance moves to match. "My Girl," "Papa Was a Rollin' Stone," and "The Way You Do the Things You Do," are stone-cold classics and worth the price of admission.

    The Commodores and The Temptations are at Arena Theatre, located at 7326 Southwest Fwy, on Friday, December 7. Tickets start at $35.50 plus service fees. Show starts at 8:30 pm.

    Joy Williams (formerly of The Civil Wars)
    Unfortunately, the show at Heights Theater with the amazing blues act The Robert Cray Band on Friday is sold out, so let us point you in the direction of the upcoming performance by Joy Williams, formerly the singer of the acclaimed Americana act, The Civil Wars. She won four Grammy awards and hit No. 1 on the Billboard charts with her songwriting partner John Paul White before creative differences led to an acrimonious split in 2014. Williams has had a good solo career, which can be largely attributed to her gorgeous vocals, but the material veers more towards adult pop than her folksy back catalog. Regardless, she's a talent too good to pass up. She is touring in advance of her set-to-be released record, Front Porch.

    Joy Williams headlines the Heights Theater, located at 339 W. 19th St., on Sunday, December 9. Anthony Da Costa opens Tickets start at $26 plus a $6 service fee. Doors open at 7 pm.

    Stop and Stare at OneRepublic
    Pop-rock act OneRepublic last played at RodeoHouston earlier this year and seemed to find it difficult to fill the space, despite a good performance by lead singer Ryan Tedder. Their headlining slot at House of Blues will be the perfect venue for the "Counting Stars" and "Stop and Stare" band, allowing them to get up close and intimate with their die-hard fans as part of the Mixmas 96.5 holiday show.

    OneRepublic headlines the House of Blues, located at 1204 Caroline St., on Monday, December 10. Ocean Park Standoff, Matt Nathanson, and Brynn Elliott open. Tickets start at $59.50 plus service fees. Doors open at 6:30 pm.

    OneRepublic performs at House of Blues on Monday, December 10.

    OneRepublic
    OneRepublic/Facebook
    OneRepublic performs at House of Blues on Monday, December 10.
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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.

    ---

    Anaconda is now playing in theaters.

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