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    Movie Review

    Bryan Cranston is the reason to see drug-crime drama The Infiltrator

    Alex Bentley
    Jul 13, 2016 | 9:00 am
    Bryan Cranston is the reason to see drug-crime drama The Infiltrator
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    It’s funny what one iconic role can do for a person’s career. Prior to playing Walter White on Breaking Bad, Bryan Cranston was known for playing the dad on Malcolm in the Middle — and not much else. He had worked steadily since the mid-'80s, mostly in bit parts or forgettable roles.

    But virtually from the moment he started playing a drug kingpin, his career skyrocketed — and his performance in The Infiltrator will only propel it further. He plays Robert Mazur, a real life undercover special agent for the U.S. Customs Service who was involved with the war on drugs in the 1980s.

    When seizing enormously large quantities of drugs or arresting low-level drug dealers proved futile, Mazur and his team decided to go after the drug cartels where it would really hurt: their wallet. Over several years, he wound his way into the inner circles of the cartel and their preferred bank by pretending to be a money launderer with no equal.

    It’s next to impossible to find an original angle for a drug crime movie, but director Brad Furman and his wife, writer Ellen Brown Furman, have done a superb job of making the genre feel fresh again. Whether it’s the use of grainy film stock, which makes it feel like an older movie, or the fleshing out of multiple characters, not just the two or three at the film’s center, the Furmans were extremely thoughtful in each and every detail.

    What’s especially notable about the portrayal of the character of Mazur is how relatively normal he is. After a day full of being undercover with drug dealers and money launderers, he often goes back home to his wife and kids. And except for rare occasions, violence is anathema for him; it’s the rare crime drama where the protagonist impresses more with his brain than with his brawn.

    The cast, in addition to Cranston, is filled with top-notch talent. John Leguizamo plays Emir Abreu, Mazur’s risk-taking partner; Amy Ryan plays Bonni Tischler, Mazur and Abreu’s boss; Diane Kruger plays Kathy Ertz, a Customs agent who ends up playing Mazur’s fake fiancée; and Benjamin Bratt plays Roberto Alcaino, a higher-up in Pablo Escobar’s drug cartel.

    But, of course, it’s Cranston who leads the way. His relatively rare ability to seamlessly go back and forth between drama and comedy serves his character well, as Mazur’s job description requires him to change emotions at the drop of a hat. The fact that you don’t doubt his sincerity for one moment throughout the film is a testament to his skills.

    The Infiltrator confirms two things: Bryan Cranston is a national treasure who only gets better with age. And, there are still plenty of ways to make an effective drug crime drama.

    Combine those two elements, and you get pure gold.

    Bryan Cranston and John Leguizamo in The Infiltrator.

    Bryan Cranston and John Leguizamo in The Infiltrator
    Photo by Liam Daniel / Broad Green Pictures
    Bryan Cranston and John Leguizamo in The Infiltrator.
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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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