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    Movie Review

    Val documentary dives deep into life and career of Val Kilmer

    Alex Bentley
    Jul 23, 2021 | 3:01 pm
    Val documentary dives deep into life and career of Val Kilmer
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    There are some movie stars whose time at the top is seemingly never-ending, but for the majority of actors, being an A-list celebrity lasts for a relatively short period of time. Val Kilmer was as big a star as there was in the 1980s and ’90s, headlining movies like Top Gun, The Doors, Tombstone, and Batman Forever.

    But, even though he’s continued to work steadily, his last film of note was 2005’s Kiss Kiss Bang Bang, a very fallow period for a man who’s still only 61 years old.

    As the new documentary Val shows, one big reason his work has fallen off in recent years is a battle with throat cancer, which has left him with limited speaking abilities. Now saddled with a semi-permanent breathing tube, he’s unable to speak more than a few raspy words at a time. And yet the film is filled with his words, as his son Jack stepped in to record a voiceover of Kilmer’s thoughts for him.

    The film is a retrospective of Kilmer’s life, but it’s much more than just a glorification of his past self. Since he was a child, Kilmer has recorded thousands of hours of video, ranging from home movies he made with his two brothers to audition tapes to behind-the-scenes footage from all of his movies. All of those and more are culled together by directors Ting Pool and Leo Scott for an intimate look at a complicated man who’s still trying to make sense of his life.

    As any good documentary should, the film illuminates things that cannot be seen when viewing someone like Kilmer through the filter of his various roles or talk show appearances. The footage shows him as someone who’s innately curious, perhaps to a fault. His constant recording, while yielding some fantastic snapshots of real life, also seems to be a crutch, a way to put something in between him and the world around him.

    The film is catnip for movie lovers, with all of Kilmer’s stories and unvarnished video. He captured a young Kevin Bacon and Sean Penn when the three of them starred in the 1983 Broadway play Slab Boys. He made very involved audition tapes for movies like Full Metal Jacket, Goodfellas, and The Doors. And he chronicled revelry on the sets of Top Gun, Willow, and Tombstone, among others.

    Best of all is behind-the-scenes footage from the set of the infamous The Island of Dr. Moreau. Kilmer’s camera finds much drama on the set, from Marlon Brando being replaced by a stand-in for certain scenes to arguments with director John Frankenheimer. Kilmer and co-star David Thewlis are shown commiserating with each other over the nightmare shoot, a rare glimpse at actors being brutally honest about how bad their movie is.

    The documentary fast-forwards through Kilmer’s post-Island career until his phase playing Mark Twain on stage started in 2012, essentially discounting almost everything he did during that time. Kilmer is obviously a very complex person, and doesn’t deny that he has been a difficult man to work and live with through the years. But he’s also a devoted father whose two children, including daughter Mercedes, remain very close to him.

    At one point, Kilmer talks about trying to write a great movie to cement his legacy. The irony is that, even though that film has not come to fruition, he ended up making a fantastic film about his own life by filming anything and everything that interested him. Val is a deep dive into the soul of an enigmatic man and a fun look at the Hollywood history he witnessed along the way.

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    Val opens in select theaters on July 23 and debuts on Amazon Prime Video on August 6.

    Val Kilmer in Val.

    Val Kilmer in Val
    Photo courtesy of Amazon Studios
    Val Kilmer in Val.
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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.

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    Anaconda is now playing in theaters.

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