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    Mondo Cinema

    Le Funny Business at MFAH, Kristen Stewart on the road and Gangham Style in Bollywood

    Joe Leydon
    By Joe Leydon
    Mar 22, 2013 | 9:45 am

    They’re collectively billed as Five Funny French Films, raising expectations for a lot of “Ha! Ha! Ha!” along with the “Ooh La La!” (Sorry, couldn’t resist.) As they unspool this weekend at the Museum of Fine Arts, Houston, you can enjoy a wide variety of funny business with a lineup that includes:

    All That Glitters (5 p.m. Friday, 3 p.m. Sunday) – Two sisters, tired of their dull lives in a suburb 10 minutes by train from Paris, go to amusing extremes to enjoy the good life in the big city.

    Skylab (7 p.m. Friday, 9:15 p.m. Saturday) – Actress Julie Delpy once again tries her hand as a writer-director, this time for a semi-autobiographical comedy about a 1979 family gathering that may or may not be rudely interrupted by the threatened crash of a humongous space station.

    Big is Beautiful (9:15 p.m. Friday, 1 p.m. Sunday) – Three full-figured ladies forge friendships and gain self-awareness during a weight-loss program at a clinic in the Alps.

    My Worst Nightmare (7:15 p.m. Saturday) – French superstar Isabelle Huppert heads the cast of this farce about an icy art gallery owner who’s warmed just a smidge by her edgy yet erotically charged relationship with a uncouth carpenter doing remodeling work in her spacious apartment.

    What’s in a Name? (5 p.m. Sunday) – An expectant father (Patrick Bruel) upsets his family with the wholly inappropriate name he has chosen for his soon-to-arrive offspring.

    In addition to screening these five flicks, the MFAH Film Department is offering a bit of lagniappe: Le Grand Amour (5:30 p.m. Saturday), a 1969 comedy about a new husband with a wandering eye, starring Pierre Étaix, the French comic actor who’ll be the subject of a retrospective tribute at the museum in May.

    Sundancing with cinema

    Two new notable offerings are on tap this weekend at the Sundance Cinemas downtown.

    After impressing international audiences with his acclaimed Certified Copy, a romantic drama starring Juliette Bincohe and British opera singer William Shimell as attracted opposites in Tuscany, Iranian filmmaker Abbas Kiarostami once again ventures far from his homeland – to Japan, to be precise – for Like Someone in Love, a teasingly ambiguous story about a sociology student (Rin Takanashi) who moonlights as a prostitute, and the elderly professor (Tadashi Okuno) who starts out as her client, but evolves into her mentor.

    On the Road, the long-awaited filmization of Jack Kerouac’s classic novel, played in a handful of theaters late last year in the hope of copping critical hosannas and Academy Award nominations. But reviews were mixed and Oscar buzz was muted, so IFC Films opted to wait a little longer before giving the movie a wider release. Now it has arrived in H-Town, and you can decide for yourself if Brazilian director Walter Salles (Central Station, The Motorcycle Diaries) and lead players Garrett Hedlund, Sam Riley and Kristen Stewart have done justice to Kerouac’s story about free spirits in search of new experiences in late 1940s America.

    Bollywood Madness

    In Rangrezz (at AMC Studio 30), a Hindi-language film by the prolific Indian director known as Priyadarshan, three close friends literally risk life and limb (and long-term disability) to unite two star-crossed lovers. It may look like the usual Bollywood song and dance, but there’s at least one surprise in the soundtrack: According to published reports out of India, producer Vashu Bhagnani paid a hefty fee to use Psy’s monster hit “Gangham Style” in the movie, so his son Jackky Bhagnani, one of the film’s lead players, could dance to it on screen.

    But wait, there’s more: Psy refused to sell the rights to his signature tune until he was certain Jackky had sufficient terpsichorean talent to… well, to really do it “Gangham Style.” So he took a look at the young performer’s dance moves in the Hindi movie F.A.L.T.U. – and only then granted his blessing.

    Which only goes to show you: In Bollywood, there’s always a happy ending. As you can see here.

    Other screens, other cinema

    Rob Schneider, Michelle Rodriguez, Lindsay Lohan and Oscar-winner Adrien Brody star in… Wait a minute, that doesn’t look right. Let me double check… Yeah, Brody actually is in InAPPropriate Comedy (various locations), an indie flick that, based on its trailer, appears to be the sort of thing actors do only when they owe a favor to a friend, a payment on a mortgage, or a fee to their legal team.

    In New World (AMC Studio 30), South Korean filmmaker Park Hoon-jung (who wrote the script for Kim Ji-woon’s notorious I Saw the Devil ) wrings suspense from the conflicting loyalties of an undercover cop (Lee Jung-jae) who’s begun to take his role as right-hand man to a crime lord a bit too seriously.

    A Resurrection (at Edwards Marq*E) is a horror thriller about a high-schooler who returns from the dead to seek revenge on the bullies who killed him, but it’ll likely earn a footnote in film history books primarily because it’s one of the final films completed by the late Michael Clarke Duncan.

    Jackky Bhagnani grooves Gangnam Style for Rangrezz

    Jackky Bhagnani grooves Gangnam style for Rangrezz, Mondo Cinema
    CineGoer.com
    Jackky Bhagnani grooves Gangnam Style for Rangrezz
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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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