Anaconda (2025) arrives in cinemas this week, carrying with it the considerable baggage of its name. For many viewers, the title reminds them of the late-1990s creature feature – a film (not so fondly) remembered for its camp tone and dreadful narrative. Sony Pictures is hoping to revive this 30 year old franchise with a tonal 180 and instead embrace the absurd premise to make audiences laugh, on purpose, with a comedic reboot.
Before watching Anaconda (2025), I was apprehensive on whether or not this format would work, but I’m glad to report it does. Anaconda (2025) emerges as a surprisingly confident and genuinely entertaining studio comedy that understands both its legacy and its limitations.
One of the film’s greatest strengths is its sense of humour. Thankfully this is not a case of ham-fisted nostalgia bait, but rather a genuinely funny film. There were multiple moments throughout where I audibly laughed, often caught off guard by how well the jokes landed.
Much of this success can be attributed to Jack Black and Paul Rudd, who are the film’s standout performers. Both are scene stealers in the best possible way, injecting energy and personality into every scene they are in. Black leans into his trademark exuberance without overwhelming the film, while Rudd’s effortless charm and timing provide a perfect counterbalance. Together, they elevate the material significantly, turning what could have been standard genre fare into something far more engaging.
The supporting cast largely rises to the occasion as well. Steve Zahn delivers a reliably strong performance, providing a quirky warmth while embracing the film’s more absurd elements. The chemistry across the entire ensemble is excellent, which is essential for a film that relies so heavily on group dynamics. The cast feels like a cohesive unit rather than a collection of familiar faces sharing the screen, and that camaraderie carries the film through its tonal shifts.
Thandiwe Newton is arguably the weakest link, though this is less a reflection of her performance and more a consequence of the script. Her character simply has the least to do, leaving her underutilised in a film otherwise bursting with personality. It is a missed opportunity, particularly given her talent, but not one that derails the overall experience.
Beyond the comedy, Anaconda delivers genuine tension. There are several edge-of-your-seat moments, with effective jump scares that are well-timed and surprisingly impactful. Even more unexpected is the film’s narrative ambition. The story features a number of twists that even M. Night Shyamalan would be proud of. These twists keep the plot feeling unpredictable and engaging.
While Anaconda may not feel quite large enough to fully justify a theatrical release, it is undeniably worth watching. This is not a lazy reboot or a cynical cash-in, but a competent, well-crafted studio comedy that knows its audience and plays to its strengths. It seems almost destined to perform strongly in the ancillary market, where its blend of humour, suspense, and star power can be enjoyed without inflated expectations.
6/10
