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    Movie Review

    American Symphony music documentary showcases Jon Batiste's triumph over trying times

    Alex Bentley
    Dec 4, 2023 | 9:15 am

    Singer/musician Jon Batiste has a boundlessly infectious personality, whether at concerts, on stage at the Grammy Awards, or in his former role as bandleader on The Late Show with Stephen Colbert.

    And as a new documentary American Symphony demonstrates, his ability to stay upbeat in spite of enormous recent personal struggles is nothing short of remarkable.

    The film, directed by Matthew Heineman, follows Batiste in 2021 and 2022, years that would prove to be of great consequence. In those two years, Batiste would win both a Grammy and an Oscar for his work on the Disney/Pixar film, Soul; win Album of the Year at the Grammys for his fifth album, We Are; and prepare to debut his work, American Symphony, at Carnegie Hall in New York.

    At the same time, his partner (and soon-to-be wife) Suleika Jaouad had a recurrence of leukemia after being in remission for 10 years. As if to underscore the wildly fluctuating emotions with which Batiste was dealing, the day that he was nominated for 11 Grammys also happened to be Jaouad’s first day of chemotherapy, a head-spinning turn of events that few could deal with adequately.

    The film tracks Batiste as he goes back-and-forth between the important things that demand his time, while also giving a primer on the musician’s career for those who may not be familiar with him. The result is a portrait of a man that both underscores his musical brilliance and gives a glimpse behind the curtain of how people going through a cancer battle deal with the toughness of the disease and treatment.

    Heineman attempts to give Jaouad her own time in the film, highlighting her own accomplishments as a musician, writer, and budding painter. Through no fault of her own, though, the overwhelming nature of the cancer and Batiste’s exploding career push her to the background. The love story between the two of them is strong and clear, but most of the feelings are felt through the perspective of Batiste.

    Jaouad says to Batiste at one point, “I feel like we’re living a life of contrasts,” and the film is all about the juxtaposition between their two lives, again mostly by showing Batiste’s two lives. One day he’s giving an exuberant performance and winning the top award at the Grammys, and the next he’s back in Jaouad’s hospital room, where she stayed for five weeks.

    The multiple stressors in his life take their toll, with Batiste confessing to panic attacks and taking time to talk regularly on the phone with a therapist and practice breathing techniques. At one concert, Batiste dedicates a song to her and pauses for a long time before starting, clearly having a big emotional moment.

    Still, because of Batiste’s natural personality and the love he and Jaouad have for each other, the film never becomes a depressing watch. Instead, it inspires with his artistry – typified by the title symphony, which brings together disparate elements for a unique experience – and a relationship that appears to have the ability to weather many storms.

    American Symphony blends together two stories that could each warrant their own showcase, but it becomes something richer by demonstrating how they – and the two people at the film’s center – complement each other. Batiste’s music has the power to touch your soul, but this film indicates he has much more to offer than just that.

    ---

    American Symphony is now streaming on Netflix.

    Jon Batiste in American Symphony

    Photo courtesy of Netflix

    Jon Batiste in American Symphony.

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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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