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    amazing grace

    Talented Houston teen graces top 10 finals on The Voice

    Johnston Farrow
    Johnston Farrow
    Nov 30, 2018 | 2:05 pm

    She's done it again.

    Sarah Grace, the 15-year-old Houston singer, has moved on to the final stages of the Emmy award-winning NBC music competition show, The Voice, after a performance of "Dog Days Are Over" by Florence and The Machine. Sarah Grace was voted to join the top ten finalists by viewers of the show across North America. She is in an exclusive group after approximately 30,000 people auditioned to be on the show.

    "I'm so excited," exclaims Sarah Grace from Los Angeles, where she's in rehearsals for next week's show. "I'm blessed to have this opportunity. I'm shocked out of my mind and obviously I'm very grateful that America sees something in me and wants to see me every week. So that's been really cool."

    The pressure will continue to build for Sarah Grace as the competition moves into the final three weeks, with a few contestants knocked off each episode until a winner is named. As long as she's on the show, the Houston native will live in Los Angeles, where she is joined by her father during the Cinderella run. Her days consist of school, video shoots, and rehearsals with mentor Kelly Clarkson and the live studio band.

    "Working with the band and Kelly Clarkson has been so amazing," Grace says. "I've learned so much but I've really enjoyed spending time with and collaborating with the other artists on the show. There's been so many great aspects to participating."

    Across Houston, watch parties are popping up to cheer the Houston native on. The most notable one, started by her mother and sister, Reagan, takes place at the BJ's Restaurant and Brewhouse in Webster weekly. This week will be no different, with a group gathering to see if Sarah Grace can move closer to The Voice crown on December 3. Her school, the High School for the Performing and Visual Arts, will also host a watch party that evening.

    "My friends back home have been so supportive," she says. "I couldn't have come from a better group of people. My school has been so great about supporting my time out here and being flexible with school work."

    The exposure has been a boon to her local music career as well. Her band, Sarah Grace and the Soul, in which she plays with her sister, will play the Big Barn at Dosey Doe on December 22 and they'll perform at the Old Settler's Music Festival in April alongside major touring acts like Jason Isbell and the 400 Unit, Brandi Carlile, and The Last Bandoleros.

    No matter the outcome, Sarah Grace feels like she's made the most out of her opportunity, even if performing for a TV audience for three minutes is much different than playing a 90-minute gig back home. The expereince is something she'll be able to take with her as she continues to pursue her music career.

    "I feel like I've gotten everything out of it that I've wanted," she says. "I've had a national platform every week, on Mondays and Tuesdays, for the past three weeks and that's opened me up to such a huge audience. There have been a lot of people who have reached out to me to collaborate or to book [the band]. That's exactly what I wanted out of this and it's been so much fun."

    She's also quick to remind people to tune in, when two more contestants will be sent home, but one can be saved by fan votes via social media.

    "Make sure you vote and make sure you're watching on Tuesday just in case I need you for the Twitter save," she says.

    Houston's Sarah Grace became a Top Ten finalist on the hit NBC show, The Voice, last week with a Florence and The Machine song.

    Sarah Grace The Voice
    Courtesy The Voice
    Houston's Sarah Grace became a Top Ten finalist on the hit NBC show, The Voice, last week with a Florence and The Machine song.
    tvmusic
    news/entertainment

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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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