A "National Geographic" film crew is taken hostage by an insane hunter, who takes them along on his quest to capture the world's largest - and deadliest - snake.
Keep track of everything you watch; tell your friends.
If your account is linked with Facebook and you have turned on sharing, this will show up in your activity feed. If not, you can turn on sharing
here
.
A vulcanologist arrives at a countryside named Dante's Peak after a long dormant volcano, which has recently been named the second most desirable place to live in America, and discovers that Dante's Peak, may wake up at any moment.
James Bond is sent to investigate the connection between a North Korean terrorist and a diamond mogul who is funding the development of an international space weapon.
A group of Iraq War veterans looks to clear their name with the U.S. military, who suspect the four men of committing a crime for which they were framed.
When a documentary crew traveling through the Amazon jungle, picks up a stranded man, they are unaware of the trouble that will occur. This stranger's hobby is to capture the giant Anaconda snake, and plans to continue targeting it on their boat, by any means necessary. Written by
FilmFanUk
This film is listed among the 100 Most Enjoyably Bad Movies Ever Made in Golden Raspberry Award founder John Wilson's book The Official Razzie Movie Guide. See more »
Goofs
After a snake goes under water with the axe embedded in its head, Danny drops the same axe on the dock. See more »
Quotes
Paul Serone:
[holds up some white dust]
Paul Serone:
See this? Human bones. That's how it comes out. Ashes to ashes.
See more »
"Dio Che Nell'alma Infondere"
From the opera 'Don Carlo'
Written by Giuseppe Verdi
Performed by Michael Sylvester & Vladimir Chernov with the Metropolitan Opera Orchestra
Courtesy of Sonny Classical See more »
Growing up in the 50's gave me the privilege of being one the last generations of filmgoers to enjoy the Saturday afternoon double-feature matinee experience at the neighborhood theatre. These double-features were primarily low budget sci-fi/horror epics with slender threads of plot, lovely damsels in distress (Beverly Garland, Barbara Rush), square-jawed heroes (Peter Graves, Richard Carlson) and budget monsters from Mars, the grave, melted icebergs, mad scientist's labs or atomic fallout. Well not really. The monsters were usually guys in rubber suits (Creature From The Black Lagoon, This Island Earth), or cheap trick photography (Tarantula, Attack of the 50 Ft Woman), or `Mask and Glove' illusions (I Was A Teenage Werewolf/Frankenstein, Monster On The Campus), or, if we were really lucky, a Ray Harryhausen stop motion creation.
Needless to say this wasn't great cinema, but what it WAS, was great fun. Were you scared? Not really. Did you have the need for everything to be fact-based and believable? Of course not! You went to be entertained, to let your imagination merge with the sounds and images and have a good time, laughing or screaming. Could anyone really take the monster from `It Conquered The World' seriously, or wonder whether `The Creature From The Black Lagoon' was biologically possible or if it could anatomically deflower Julie Adams? Didn't matter. Instead, you let yourself meld into the film's world and travel along for the ride.
Thus whether you were on the obviously and badly animated `Angry Red Planet', or trapped with James Best on the island of dogs in make-up which were trying to pass for `The Killer Shrews', you surrendered to the magic.
My heart weeps for the post `Star Wars' filmgoers, these people weaned on special effects, the MTVers and video viewers who've had their imaginations and attention spans kidnapped and are told what to see and how to interpret it. I truly am sorry. You people missed a modern day, Grade B double feature, sci-fi/horror classic called `Anaconda'. And we hadn't seen one this good since `Alien'.
Being an intelligent man, I realize the futility of convincing the non-believers who can't draw from the needed background reservoir to understand, so I won't bother preaching this film's virtues or try to win you over by fact and argument. This, however, is what I will say
This is a brilliant re-creation of the lost art of the 1950's double-feature horror genre; not really a homage to, more the real thing. It's `Creature From The Black Lagoon', with a really cheesy computer animated snake in place of a guy in a really cheesy rubber suit. It's a Saturday afternoon classic for people who remember and understand them. Story is great, script is great, cinematography is great, direction is great, acting is great, the women beautiful and endangered, the heroes machismo and handsome, the monster phantasmagorical, and we get a bonus surprise by one of the greatest American actors, Jon Voight, doing a magnificent over-the-top, slimy, nasty, reprehensibly heartless villain, complete with a sly wink to the audience. His performance is the key to the film. He understood the film's intent and translated it to the screen for you. If it's in your realm of understanding and experience, you get it and are able to partake in this little slice of cinema heaven.
In 20 years, they'll be calling this a classic. I'm calling it one now.
81 of 131 people found this review helpful.
Was this review helpful to you?
Growing up in the 50's gave me the privilege of being one the last generations of filmgoers to enjoy the Saturday afternoon double-feature matinee experience at the neighborhood theatre. These double-features were primarily low budget sci-fi/horror epics with slender threads of plot, lovely damsels in distress (Beverly Garland, Barbara Rush), square-jawed heroes (Peter Graves, Richard Carlson) and budget monsters from Mars, the grave, melted icebergs, mad scientist's labs or atomic fallout. Well not really. The monsters were usually guys in rubber suits (Creature From The Black Lagoon, This Island Earth), or cheap trick photography (Tarantula, Attack of the 50 Ft Woman), or `Mask and Glove' illusions (I Was A Teenage Werewolf/Frankenstein, Monster On The Campus), or, if we were really lucky, a Ray Harryhausen stop motion creation.
Needless to say this wasn't great cinema, but what it WAS, was great fun. Were you scared? Not really. Did you have the need for everything to be fact-based and believable? Of course not! You went to be entertained, to let your imagination merge with the sounds and images and have a good time, laughing or screaming. Could anyone really take the monster from `It Conquered The World' seriously, or wonder whether `The Creature From The Black Lagoon' was biologically possible or if it could anatomically deflower Julie Adams? Didn't matter. Instead, you let yourself meld into the film's world and travel along for the ride.
Thus whether you were on the obviously and badly animated `Angry Red Planet', or trapped with James Best on the island of dogs in make-up which were trying to pass for `The Killer Shrews', you surrendered to the magic.
My heart weeps for the post `Star Wars' filmgoers, these people weaned on special effects, the MTVers and video viewers who've had their imaginations and attention spans kidnapped and are told what to see and how to interpret it. I truly am sorry. You people missed a modern day, Grade B double feature, sci-fi/horror classic called `Anaconda'. And we hadn't seen one this good since `Alien'.
Being an intelligent man, I realize the futility of convincing the non-believers who can't draw from the needed background reservoir to understand, so I won't bother preaching this film's virtues or try to win you over by fact and argument. This, however, is what I will say
This is a brilliant re-creation of the lost art of the 1950's double-feature horror genre; not really a homage to, more the real thing. It's `Creature From The Black Lagoon', with a really cheesy computer animated snake in place of a guy in a really cheesy rubber suit. It's a Saturday afternoon classic for people who remember and understand them. Story is great, script is great, cinematography is great, direction is great, acting is great, the women beautiful and endangered, the heroes machismo and handsome, the monster phantasmagorical, and we get a bonus surprise by one of the greatest American actors, Jon Voight, doing a magnificent over-the-top, slimy, nasty, reprehensibly heartless villain, complete with a sly wink to the audience. His performance is the key to the film. He understood the film's intent and translated it to the screen for you. If it's in your realm of understanding and experience, you get it and are able to partake in this little slice of cinema heaven.
In 20 years, they'll be calling this a classic. I'm calling it one now.