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    Live Music Now

    Garth Brooks and Lorde top the 9 best shows in Houston this week

    Johnston Farrow
    Johnston Farrow
    Mar 13, 2018 | 4:48 pm

    The sun sets on country music in Houston for the time being with RodeoHouston wrapping up on Sunday, March 18 with a closing set from Garth Brooks. That gives way to an amazing line-up of pop, alternative, hip-hop, and indie shows, strengthened by a SXSW run-off. The quality of offerings are top-notch, and quantity almost irresistible to anyone with even a passing interest in live music. Here are the notable shows coming up.

    RodeoHouston's last stand
    If there was a belt buckle for best three-show run at RodeoHouston, the closing weekend of the 2018 edition surely would be in the lead, as it goes out with a bang with three of the biggest country performers in the world. Friday, March 16 will see a hotter-than-Hades Chris Stapleton play to what will be close to a sold-out audience with standing room only tickets left. Saturday, March 17 will bring Brad Paisley and his 24 No. 1 hits to the Stars Over Texas stage. And Garth Brooks will return to close out RodeoHouston on Sunday, March 18. Whether he’ll do a repeat performance of his acclaimed opening set a few weeks ago or whether he’ll mix his setlist up, it’s hard to think anyone will leave disappointed, looking forward to what 2019 will bring.

    RodeoHouston weekday show times are 6:45 pm with performers going on-stage at 8:45 pm, and 3:45 pm for Saturday and Sunday shows with performers taking the stage at 5:45 pm. Tickets are available through the RodeoHouston website or the resale market. RodeoHouston takes place at NRG Stadium, located on NRG Parkway.

    A show for music fans who love to live dangerously (or really bad soda)
    If you’re a fan of Faygo soda or odes to the magic of magnets (1.54 - trust me on this), or if you’re a social anthropologist who might be curious as to what a gathering of official FBI gang-members might look like, head down to San Leon Friday for a gathering of the Juggalos and witness the sh**show that will be the Insane Clown Posse live in concert. FYI, Faygo has a cotton candy flavor. You’re welcome.

    Insane Clown Posse perform with Attila at 18th Street Pier, 101 18th St., San Leon, TX, as part of SlamFest on Friday, March 16. Lil Toenail, OUIJA, Sylar, LYTE open. Tickets are $27.99 plus fees. Show starts at 8 pm.

    Best show of the week
    Not sure what we did to deserve this line-up of two acts that could easily headline their own arena show on the same bill, but it means Houston has done something worthy for the music gods to take notice. Kiwi superstar Lorde returns after her ill-fated nixed appearance at last year’s Free Press Summer Fest at the current pinnacle of her pop powers following the release of the exceptional best of 2017 chart-topper Melodrama. She comes to town with one of the best live hip-hop duos as an opener, Run The Jewels, who proved their prowess to Houston music fans twice in the last 15 months with appearances at Day For Night 2016 and a headlining set at Revention Music Center late last year.

    Lorde and Run The Jewels perform at the Toyota Center, 1510 Polk St., on Monday, March 19. Tove Stryke opens. Tickets are $39.50-$99.50 plus fees. Doors open at 7 pm.

    Best chance to dance away Harvey memories
    Fantastic indie-electro duo Sylvan Esso, comprised of singer Amelia Meath and producer Nick Sanborn, were set to play a highly anticipated show back in September before Hurricane Harvey had other plans. Thankfully, they rescheduled, giving all of those fans who lived through the torrential downpour and floods a chance to dance those negative memories away. The band has been rightfully blowing up for their catchy-as-all-get-out mix of beats and melody showcased on their two stellar albums, their 2014 self-titled offering and last year’s What Now. They make the first of two appearances in Houston at an intimate White Oak show on Monday, followed by a slot at In Bloom Festival. They’ll be sweaty, danceable fun.

    Sylvan Esso performs at White Oak Music Hall, located at 2915 N. Main St., on Monday, March 19. Suzi Analogue opens. The show is sold out but tickets are available on the resale market. Doors open at 7 pm.

    Closest to seeing The Strokes live
    For those fortunate enough to see The Strokes on their first headlining U.S. tour at what is now Revention Center back in 2002, it was a revolutionary performance that few of those in attendance have yet to forget. After years of diminishing output, members of that legendary NYC band went their separate ways, working on different projects. Guitarist Albert Hammond Jr.'s music sticks closest to the oft-untouchable source material, the recently released Francis Trouble as close to peak Strokes as anything that has come before, which is code for pretty dang awesome. This show, with tickets at less than $20, is definitely worth checking out.

    Albert Hammond Jr. performs at White Oak Music Hall, located at 2915 N. Main St., on Tuesday, March 20. Hinds opens. Tickets are $16 plus fees. Doors open at 7 pm.

    Return of an emo icon
    Emo-rock fans will be gathering to commune with one of their heroes as Dashboard Confessional is back after a long hiatus. Frontman Chris Carrabba gained fame in the early aughts for his irrepressible good looks and heart-on-sleeve lyrics set to an acoustic soundtrack. To give a sense of his sway over mainstream audiences, his Christian music background made it cool for Jesus loving kids to wear Hot Topic, a pretty impressive feat. For dudes whose girlfriends love this band, expect a lot of singalongs and pining over Carrabba. Fans are still extremely passionate about this band, despite the ho-hum 2018 return album, Crooked Shadows.

    Dashboard Confessional pours their heart out at House of Blues, located at 1204 Caroline St., on Tuesday, March 20. Beach Slang opens. Tickets start at $33.60 plus fees. Doors open at 5:30 pm.

    Best chance to see a bonifide MTV star
    Pat Benatar is proof that a couple of big hits are all an artist needs to build a career on as she is going strong after nearly four decades. Few female artists were bigger than Benatar in the '80s. She capitalized on a then-new music channel, MTV, to rocket to stardom through the relatively new art form of videos. Her hits “Heartbreaker,” “Hit Me with Your Best Shot,” “Love is a Battlefield,” and “We Belong” made her a superstar. She married her guitarist Neil “Spyder” Giraldo, architect of her biggest songs, and they are now billed on this special acoustic tour that will roll through Sugar Land.

    Pat Benatar and Neil Giraldo at Smart Financial Center, located at 18111 Lexington Blvd., in Sugar Land, TX, on Wednesday, March 21. Tickets start at $59.50. The show starts at 8 pm.

    Country megastar Garth Brooks closes out RodeoHouston on Sunday, March 18 at NRG Stadium.

    Garth Brooks opening night RodeoHouston pose
    Photo by J. Thomas Ford
    Country megastar Garth Brooks closes out RodeoHouston on Sunday, March 18 at NRG Stadium.
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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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    news/entertainment

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