Jennifer Lopez and Eric Stoltz are Terri Flores and Steven Cale, a documentary filmmaker and her anthropologist lover who charter the boat for their exploratory cruise. The trip brings together a marketing department's dream of demographically diverse South American travelers. That precision applies only to the movie's setting up and timing of its shocks (including the requisite false alarms), not to the perfunctory human dramas stirring aboard the river barge whose population is severely depleted by journey'sĮnd. Orchestral rushes in "Jaws") that "Anaconda" unfolds as a textbook action-adventure assignment. He pantingly describes as "the perfect killing machine."įorcing his mouth into an upside-down bow, narrowing and slightly crossing his eyes and speaking in a shrill ominous wheeze with an indeterminate accent, Voight parodies Marlon Brando in "Apocalypse Now" by way of "The Godfather."Īlthough the performance crosses the line from drama into farce, it defines the attitude of the movie, which is so self-consciously referential to earlier films (Randy Edelman's pulsing score virtually duplicates John Williams' stabbing Paraguayan nutcase whom the travelers pick up early on their expedition to film the legendary Shirishama Indians is a kind of B-movie Kurtz whose obsession with trapping anacondas has turned him into the human equivalent of a creature
In its fury, it uproots the tree, sending it smashing onto a rickety riverboat carrying a documentary film crew.īut even scarier than any of the hissing animatronic creatures that rear up through the muck to pounce on the movie's hapless voyagers is the performance of Jon Voight, as Paul Sarone, a gun-toting, snake-obsessed man of the jungle.
A fiendish anaconda - the world's thickest snake,Ī member of the boa family - coiled around a giant tree, darts out and snatches him in mid-fall. In a more gymnastic mode, there is the scene of a panic-stricken man clinging to the slippery rocks behind a waterfall, who loses his grip and plummets hundreds of feet into a gorge. This inside-the-beast view from the recesses of a monster's devouring gullet is the niftiest shot in Luis Llosa's "Anaconda," a trashily entertaining reptilian version of "Jaws" set in the steaming heart of the Rom deep inside the scaly white throat of a voracious 40-foot snake, you can see the head of its human prey being inexorably sucked into the hot gaping mouth.
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