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    61st annual Tony Awards

    Sean Hayes scores! Five highlights (and a couple of lowlights) at the TonyAwards — with video

    Clifford Pugh
    Jun 13, 2010 | 10:15 pm
    • Sean Hayes

    The Tony Awards might as well have been called the "Sean and Kristin" show as Sean Hayes and Kristin Chenoweth, now starring on Broadway in Promises, Promises, had the funniest bits in television's classiest awards show.

    Hayes, best known for his role as Jack in Will & Grace, hosted the show and Chenoweth kept showing up in funny bits that poked fun at the brouhaha over his sexual orientation and her omission as a nominee. (Hayes triumphed as host, expertly playing the piano, coming up with well-timed zingers and appearing as the lead character from Annie, a dancer with a big package from Billy Elliott, and Spiderman.)

    Here are our five favorite moments from the Tonys (and a couple we wish we had missed):

    1. Poking fun at the controversy that erupted last month when a Newsweek columnist wrote that Hayes, who is gay, wasn't convincing playing straight roles, the actor convincingly French-kissed Chenoweth for a prolonged period. "I know what you're thinking...she's too short for me," Hayes deadpanned afterward.

    2. Chenoweth, who was overlooked for her role in Promises, Promises, appeared later to thank her parents and a long list of friends for her award when Hayes informed her that she wasn't even nominated. Chenoweth prompted fainted. She recovered in time to present the best featured actor in a musical to Levi Kreis in Million Dollar Quartet.

    3. Green Day turned Radio City Music Hall into a rock palace with a wicked rendition of "Do You Know The Enemy?" and the cast of Green Day's American Idiot continued the high-energy session by later performing the title song from the musical (although censors bleeped the F-word). Too bad it didn't win best musical. (The honor went to Memphis.)

    4. We're not sure why Leah Michelle and Matthew Morrison from Glee were performing at the Tonys, although both are Broadway veterans. Singing an overheated rendition of "Don't Rain on My Parade" from Funny Girl, Michelle proved she's no Streisand. But she did a passable job and showed moxie by milling through the audience while she sang, stopping in front of Will Smith and Beyoncé and Jay Z. Beyoncé seemed to get a kick out of seeing another singer in the spotlight while Jay Z waved at Michelle.

    5. Best line of the night: "If you want to see a Democrat kissing a Republican, come to the Longacre (theater)," said Douglas Hodge, winner of best actor in a musical for his role as a female impersonator in La Cage aux Folles. He was referring to Kelsey Grammer, a prominent Republican supporter in real life who plays Hodge's husband in the musical farce.

    What we could have done without:

    1. Incessant ads for Plavix, Toviaz, Cymbalta, Orencia and Pristiq. We know the show aims for an older audience, but do they have to remind us of what the future holds?

    2. Catherine Zeta-Jones, who sang an off-key rendition of "Send in the Clowns" earlier on the show, looking shocked that she had won best actress in a musical for A Little Night Music (movie stars usually win Tony's; Scarlett Johansson and Denzel Washington also took home awards Sunday night). In accepting the award, Zeta-Jones prattled on before ending with a reference to husband Michael Douglas, saying "that man there is a movie star and I get to sleep with him every night."

    See the kiss between Sean Hayes and Kristin Chenoweth:

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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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