As we approach the end of the year, this was the perfect time to catch up on anything I needed to watch over the past two months in hopes of making it into my “Best of” list coming soon. With a few days off from work for the holidays, there was no better time to review the last three movies I had planned to talk about: two in theaters and one that was thankfully sent to me as a screener. By that, here are my thoughts on the latest releases of Anaconda, Is This Thing On?, and Marty Supreme.
‘Anaconda’
The thought of Sony rebooting Anaconda initially sounded ridiculous, considering I’ve always thought the original from 1997 is laughably bad. But hearing how it’s going to be more of a meta comedy had me slightly interested. Anyone who’s ever seen the original with Jennifer Lopez, Ice Cube, and an awful Jon Voight with that accent knows hands down that it’s never been considered a classic for a creature feature, but it’s viewed more as a so bad, it’s good type of time. With comic heavyweights like Paul Rudd and Jack Black facing off against the title reptilian for a movie that doesn’t look to take itself seriously, the results are an underwhelming experience where both the comedy and horror elements don’t come together nicely.
What’s the Story: For childhood best friends Doug McCallister (Jack Black) and Ronald “Griff” Griffen Jr. (Paul Rudd), their lives aren’t what they have planned. Doug is a wedding videographer with a passion for horror movies, while Griff is a struggling actor. They loved making movies when they were kids, where Griff tells him and their other friends, Kenny Trent (Steve Zahn), and Claire Simons (Thandiwe Newton), that he purchased the rights to one of their favorite movies, Anaconda. This is their chance to attempt to remake or make “a spiritual sequel” without the proper funding to make it work. They head to the Amazon in Brazil to make their movie, which they imagined would be the time of their lives, but the danger becomes real when a giant anaconda comes after them.
This concept for Anaconda alone had the potential to be entertaining, showcasing a group of friends who want to relive their childhood and remake an independent movie that exists in their world. It makes sense, considering director Tom Gormican knows a thing or two after helming the underrated action-comedy The Unbearable Weight of Massive Talent. However, when it all comes together, it feels like a watered-down version of the original with a touch of Tropic Thunder, and it nearly falls flat, becoming unmemorable throughout its short runtime. It started fun, focusing on the four’s friendship as they make a movie and fulfill their dream, only for things to go south and leave them trying not to get killed.
From a comedic standpoint, the film elicited only a few chuckles, as the jokes, while seemingly refined, often overstayed their welcome. Furthermore, several of the film’s most humorous moments were unfortunately revealed in advance through the trailers. The attempt to integrate mild horror elements was unsuccessful, as the tonal inconsistency made it difficult to become invested in the narrative. Moreover, the CGI anaconda, given the film’s PG-13 rating, lacked any real sense of menace and seemed inconsequential, especially when the creature’s pursuit of the characters was abruptly cut to a title card, leaving me quite perplexed.
The problem is, despite the good cast, the characters become irritating as they stubbornly pursue this foolish plan. There’s a decent dynamic between Rudd and Black, as their characters are predictable, with Black delivering a stronger performance as the straight man. He even has a scene where he sings. You wish they were in a better film, even though they seemed to be enjoying themselves. It was nice to see Zahn, as I couldn’t recall the last movie he was in. As someone who enjoyed Saving Silverman, it was good to see Black and him work together again. Selton Mello, as the snake handler, tries his best with his odd relationship with his pet snake, but his jokes are the kind that elicit a “That’s funny” without genuine laughter. It’s also a waste to see Thandiwe Newton as nothing more than a recently divorced lawyer with a crush on Rudd. Similarly, Daniela Melchior has little to do in a dropped gold-smuggling subplot; her character could have been cut entirely without consequence.
Once the third act arrived, it felt less satisfying, as if they had recognized that Hollywood films often rush through the conclusion and just wanted to get it over with. While it’s not the worst movie to see on Christmas Eve, considering what led to this reboot, it’s ultimately a waste of time. I appreciated its brevity, which allowed me to get back to my afternoon off, but it’s clear it’s missing a few key elements to truly succeed.
In the end, Anaconda had some promise with its clever premise. But not even the pairing of Jack Black and Paul Rudd could make this reboot clever enough; it only wishes it hit harder with the laughs and tension.
Grade: C-
‘Is This Thing On?’
I’m probably the last person to check out Bradley Cooper’s third directorial effort, finally, Is This Thing On?. It had its earliest premiere at the Heartland International Film Festival this past October, but I was on vacation in Orlando the night they screened it. Nonetheless, the Cooper fan in me was excited to see what he’d do with a drama that isn’t centered on music or romance. A Star Is Born is still a great remake, while his biopic Maestro is simply good, albeit it feels like Oscar-bait. But his latest, loosely based on the life of British comedian John Bishop, is the most engaging film of his career, and it should be discussed more this awards season.
What’s the Story: After 26 years together, Alex Novak (Will Arnett) and his wife Tess (Laura Dern) are splitting up. It soon becomes an amicable divorce, with Alex living alone in his apartment and spending enough time with his “Irish twins” sons. On the way home one evening, Alex agrees to perform at an open mic, unwillingly paying $15 to come in. Starting shy, he matures on stage as he details his relationship through laughter, giving himself the space to confront what’s bothering him.
To every comedian who comes across this, Is This Thing On? sounds like the most relatable movie, connecting with them beyond Punchline and on television with The Marvelous Mrs. Maisel. But what’s appreciated about Cooper’s approach to his direction is how intimate it feels to follow Alex through this out-of-nowhere hobby he’s taken up. Just when I thought it would be about him, it turns out to be a therapeutic way to go through middle age; you have a reserved story that perfectly captures the complexities of relationships that almost everyone goes through. He’s on stage in the city, confronting the issues that he’s brought to himself. Even when Cooper’s direction is on par with his last two films, there’s a uniqueness that doesn’t need to be there. Told through Matthew Libatique’s cinematography, it’s a more appealing, laid-back Noah Baumbach drama.
Will Arnett’s performance is undoubtedly the best of his entire career. We’ve seen how funny he can be on TV, with Gob Bluth on Arrested Development, and especially his tremendous voice work on BoJack Horseman. His character, Alex, proves he has what it takes to eventually balance comedy and drama once he finds comfort in stand-up and tries his best to make the profession work. There’s some great close-up work that lets you see his laughter and emotion through his eyes, allowing you to root for him. Laura Dern is equally terrific as Tess, nearly leaning into her role as the annoying ex-wife that’s expected for a plot dealing with divorce. There’s a strong chemistry between her and Arnett that makes you want to believe these two immature co-parents could be together again. And good on Cooper for taking a supporting role this time as Alex’s struggling actor friend, Balls, making for some of the film’s funniest moments. It’s also nice to see solid performances from Andra Day, Christine Ebersole, and Ciarán Hinds.
This won’t be his best directorial effort, but Is This Thing On? is more surprising, more heartfelt when it touches on our own identities without being overdramatic. Tapped by Will Arnett to lead and let the emotions unfold, it’s a charming dramedy that continues to showcase Cooper’s abilities behind the camera.
Grade: B+
‘Marty Supreme’
The Safdie brothers might have stopped working on films together, but this past year shows they can still succeed on their own with A24. The Smashing Machine, from a couple of months ago, was an okay effort from Benny and star Dwayne Johnson, despite its poor box office performance. However, all eyes were on what Timothée Chalamet and Josh had in store for Marty Supreme, especially after the early word-of-mouth. Both films are drastically different in style, while this sports dramedy appears to fall between the duo’s iconic films from the past ten years, Good Time and Uncut Gems. It was impossible to know what this would bring, since it had to be more than just a master at table tennis, and it was easier to buy into the hype surrounding it before I knew how to feel. As this was the last important film I needed to see in theaters, not only did Marty Supreme surpass my expectations to become one of the year’s best, but we now know Chalamet is once again a serious contender for that Best Actor Oscar.
What’s the Story: In 1952, New York City, 23-year-old Marty Mauser (Chalemet) is a shoe salesman working at his uncle’s shop. He doesn’t want that profession; he dreams of becoming the world’s greatest ping-pong player. He’s the kind of overconfident guy who believes he will make it in that field, while balancing life with his mother, Rebecca (Fran Drescher), and an affair with his lifelong friend, Rachel Mizler (Odessa A’zion). Losing a match in London at the British Open to Japanese champion Koto Endo (Koto Kawaguchi), Marty is determined to risk everything to set himself up in the World Championship, no matter the cost.
One would think this was based on a true story, but it turned out to be loosely based on the life of Marty Reisman. Even if it can’t be unbelievable, Marty Supreme turned out to be a wild and unpredictable time. It’s all fun getting into the matches of watching the ball serve back and forth. Still, Josh Safdie’s electric direction and script, co-written with Ronald Bronstein, take on an odyssey of watching Marty’s missteps, leaving me unsure how it will all write itself out of this intentional mess. Pursuing any dream is always stressful for those around them, and yet the outcome can be rewarding or disappointing. In the film’s case, as the former, it allowed me to take it all in with laughter and anxiety as it balances Marty’s successes and failures through his actions in these various situations. I might not have felt stressed out with the Safdies’ other films, but I almost felt it here and better.
No male performance has outshone itself more than what could be Chalamet’s best role yet. We’ve seen how much the 30-year-old (funny how I saw this on his birthday) can handle when cast from genre to genre with no problem. He is Marty Mauser, with the glasses, mustache, and all. This is a man who’s instantly charming but has the traits of a cocky, unlikable, confident athlete. You’re unsure if you want to root for him in the first half, and you can understand why Safdie wrote this character with Chalamet in mind, who is heavily reminiscent of Leonardo DiCaprio in The Wolf of Wall Street. Everything in his power and ambition lets you want him to succeed, only to have one domino fall when some two bad blocks get in the way. Marty Supreme lets him showcase his comedic and dramatic chops at a new level that’ll be remembered in the next five years, making him one of the greatest actors born in the ’90s.
The supporting cast doesn’t outshine Chalamet as expected, but they are all terrific here. The standout I couldn’t stop thinking about was Odessa A’zion as Rachel. There’s a specific bond she shares with Marty, especially once it’s revealed she’s pregnant with his baby. A’zion reminded me somewhat of fellow up-and-comer (and crush) Sarah Pidgeon, whom I also hope gets recognition for her work. Shark Tank‘s Kevin O’Leary was surprisingly good as Milton Rosenwell, the wealthy business owner offering to support Marty in Tokyo if he works for it, and just a guy you want to punch in the face. Even those I’m not particularly fond of, like Gwyneth Paltrow or Tyler Okonma (a.k.a. Tyler, the Creator), were solid. As Paltrow’s Kay Stone, an actress who has a secret relationship with Marty, and Okonma as his fellow hustler/friend Wally, they both shine in their limited screen time.
For a film running 150 minutes, Safdie and Bronstein’s editing made it feel like a perfect two hours, making the investment in what’s happening on-screen important. Daniel Lopatin provides a great electronic score; I don’t think it would work for a film set in the early ’50s, but it adds extra layers to an ostentatious vibe, including the music drops from “Forever Young” (one of my all-time favorites) and “Everybody’s Got to Learn Sometime.” Even the low-stakes emotion of the ping-pong scenes showcasing Marty’s competitiveness was exciting, and not since Forrest Gump became a changer has there been this good in cinema, courtesy of cinematographer Darius Khondji.
It’s constantly refreshing when the last trip to the theater is something you hope will be great, and after this year not being the best, Marty Supreme delivered and more. Maybe it’s not on the level of a “masterpiece” just yet, but I walked out glad to be part of the group that loved what Josh Safdie brought to the table. What likely cemented my love for it was the final scene, which made me so emotional I’m now impatient to see it again.
Overall, Marty Supreme is the unexpected, frenetic piece of entertainment that only one half of the Safdie brothers manages to stand out. Anchored by Timothée Chalamet in a top-tier performance to remember him by, and incredible storytelling never running out of steam, it hits all the notes.
DC's Take 