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    Worth The Wait

    Pearl Jam's Eddie Vedder falls hard for Houston, wins over patient fans inhot-ticket solo night

    Reid Schroder
    Nov 13, 2012 | 9:57 am
    • Monday's performance marked nearly 10 years since Eddie Vedder, well-known frontman of Pearl Jam and recently accomplished solo artist, has performed inHouston. During the first encore, he was joined on stage by opening act Glen Hansard anda talented fan from the audicence.
      Photo by Bradley Kerl
    • Vedder was equipped with an acoustic guitar, mandolin and ukelele to play solotunes, Pearl Jam favorites and thoughtfully-considered covers.
      Photo by Bradley Kerl

    If you were driving down Louisiana Street on Monday evening, you might have noticed an unusual throng of flannel-clad twenty- and thirtysomethings milling around Jones Hall.

    Though not a typical sight in front of the austere home of the Houston Symphony, it was understandable considering the words on the venue's marquee: "Eddie Vedder, with special guest Glen Hansard" glowed above a long line of eager fans waiting for the doors to open.

    Monday's performance marked nearly 10 years since Eddie Vedder, well-known front man of Pearl Jam and recently accomplished solo artist, has performed in Houston, and the first time he has played here without his band.

    To give a little perspective here, the Houston Astros have been to a World Series more recently than Eddie Vedder has played in Houston.

    To give a little perspective here, the Houston Astros have been to a World Series more recently than Eddie Vedder has played in H-Town. This city's long wait was not lost on the 47-year-old singer.

    "It's nice to be here in Houston, Texas tonight," Vedder said early in his set. "I was counting the numbers before the show, and it's hard to believe, but the group that I'm in, we've only played Texas, all total, in 22 years, about 15 times."

    Finally given this opportunity to vent, many fans excitedly proclaimed "We KNOW!" before Vedder playfully retorted with a plea that he was there presently and that he would report back to "the fellows," depending on how well the evening went.

    As the set continued, Vedder relied heavily on his solo material from 2007's Into The Wild soundtrack, but also performed favorites from his 2011 solo album Ukulele Songs and enough Pearl Jam songs to satisfy the large number of Ten Club members in attendance.

    A sonorous sound

    Drawing from such a wide range of material and equipped with an arsenal of acoustic guitar, mandolin and ukulele, the songs sounded natural in a sonorous environment like Jones Hall. This offered a welcome change of pace from the most recent Pearl Jam show played in The Woodlands back in 2003, which was a more raucous, political affair.

    Vedder, a professed audiophile, took multiple opportunities throughout the set to relish in the rich tone that the venue lent to his unmistakable baritone. As often as the songs allowed, the performer let loose with a series of vocal and instrumental embellishments.

    Vedder, a professed audiophile, took multiple opportunities throughout the set to relish in the rich tone that the venue lent to his unmistakable baritone.

    During Pearl Jam favorites like "Immortality," "I Am Mine" and "Porch" — songs that are arguably incomplete without the dynamic of Vedder's band — the singer held his own by furiously strumming textured rhythms that worked surprisingly well in this context.

    It's as if Vedder was channeling rather than defying his band mates; a comforting thought if the growing number of side projects from various members of Pearl Jam has fans worried about the band's future.

    Vedder has always worn his influences on his shoulder, and Monday evening’s performance was no exception. Not including the impromptu lyrical lead-ins from Pink Floyd and Perry Farrell songs, nearly a quarter of the set contained covers spanning generations of American music — Tom Waits, Cat Power, Buddy Holly and James Taylor, to name a few.

    As covers go, the singer made each song his own. "Good Woman" by Cat Power was introduced by Vedder as a song that he considers to be about the girl in "Better Man," if she had made the right decision. Similarly, Waits' "Picture in a Frame," when performed by Vedder, sounds like a soothing children's lullaby in addition to being a charming love song in its own right.

    During the first encore, Vedder graciously invited his opening act, Glen Hansard of the Irish group The Frames, to accompany him on a few songs before Hansard performed his own Oscar-winning composition, "Falling Slowly," with Vedder himself taking a verse.

    In keeping with that communal spirit, the evening concluded with a triumphant rendition of "Hard Sun" from the Into The Wild soundtrack, with Vedder joined by Hansard, a talented fan from the audience and a packed house full of energetic fans singing along with nearly a decade's worth of pent-up gusto.

    Vedder will play a second show at Jones Hall on Tuesday at 7:30 p.m. As both shows were rescheduled from the original soldout April dates, your best bet on getting in may be through a third party vendor.

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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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