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    Sundance Film Festival 2017

    How Trump trumped the media: Documentary examines how the press got the election so wrong

    Jane Howze
    Jan 24, 2017 | 11:20 am

    Donald Trump may have officially assumed the nation's highest office in Washington, D.C., but he continues to be a major presence at the Sundance Film Festival in Park City, Utah. “Trumped: Inside the Greatest Political Upset of All Time” was screened for 200 members of the press Monday in a tent off Main Street in Park City, Utah, while a ferocious blizzard caused water to drip from a leaky ceiling. Despite the less than ideal conditions no one left.

    The documentary, created by John Heilemann, who has covered every election since 1992, Mark Halperin and former Austin political operative Mark McKinnon (creators of Showtime’s The Circus) analyzes the 2016 election from the vantage point of hindsight and as a result offers an outside-the-bubble perspective of how nearly everyone in the media got the bizarre and unprecedented presidential election so wrong. It traces Trump’s entry into the race, his destruction of each Republican contender, and culminates in his surprise election victory.

    Heilemann, in the Q&A session following the film, acknowledged that Sundance booked the film when it was just an idea and that his team had worked around the clock since the election and had only finished editing the film this week.

    The highly entertaining documentary focuses on the campaign from the press’s perspective, including many of the sound bites already seen on TV. Political junkies expecting insight from his advisers will be disappointed — the filmmakers let the story unfold through replays of his press conferences, the debates and several short interviews from the Trump private jet — always with a TV on in the background. I found these particularly interesting.

    On one you can catch a glimpse of Trump from a distance talking animatedly and affectionately with Melania Trump. On another, an interviewer asks Trump if he gets coached on what to say and he says no, he doesn’t need that. He speaks from his heart. Indeed he does and the film shows that while many supporters don't like all he says, they like that he is unscripted.

    This documentary has some laugh-out-loud parts, perhaps because truth can sometimes provide the best humor. Does anyone remember in 2015, when then-President Obama was asked if he could imagine Trump as president and he replied “yes, in a Saturday Night Live skit?” Similarly Trump’s comments about his….er…manhood, when replayed, had many in the audience chortling. If you just watched those snippets, you could see how the election was so shocking.

    Yet, through the lens of hindsight, the spectacle of the Trump plane pulling up to a hangar full of supporters, the excitement of the crowds (one young woman stated “I grew up watching him on The Apprentice”) and the politically incorrect and supremely confident Trump provided a moment of “How did we all miss this?”

    The film chronicles election night at Hillary Clinton’s extravagantly outfitted Jacob Javits Center election party that included a glass ceiling and a stage in the shape of the United States. One of the first signs that all was not going well was NBC's Andrea Mitchell telling the filmmakers that she is getting unsettling reports from Michigan. The film shows the shock and dismay of the filmmakers: “We were wrong and we need to figure out why.”

    Concluding the Q&A, Heilemann was asked by someone who was tactfully critical of the press (this is Sundance after all — not many openly Trump supporters here), asking what happened to reporter objectivity. He replied that everyone agrees the press is “fucked up” but they disagree on why.

    Some critics have taken the filmmakers to task for not trying to destroy Trump. He commented, “I think that it is incumbent on journalists not to become dispassionate because that’s phony. I think you should be passionate for the things that matter which are things like truth and accountability. We should try to represent the interests of the country and to hold people in power accountable and try to stay focused on what is true and which is false. “

    Even those who didn’t vote for Trump will find this documentary interesting, entertaining and instructional for future campaigns —even though, in the documentary, Bernie Sanders warns that an election should not be sport or a soap opera. The documentary will be screened on Showtime on February 3.

    Even those who didn’t vote for Donald Trump will find this documentary interesting, entertaining and instructional for future campaigns. It premieres on Showtime February 3.

    Donald Trump hat
    Photo via nydailynews.com
    Even those who didn’t vote for Donald Trump will find this documentary interesting, entertaining and instructional for future campaigns. It premieres on Showtime February 3.
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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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