AnacondaApril 11, 1997
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.
Release Year: 1997
Rating: 4.4/10 (39,576 voted)
Critic's Score: 37/100
Stars: Jon Voight, Jennifer Lopez, Eric Stoltz
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.
Writers: Hans Bauer, Jim Cash
Dr. Steven Cale
When You Can't Breathe You Can't Scream
Release Date: 11 April 1997
Filming Locations: Amazonas, Brazil
Box Office Details
Opening Weekend: $16,620,887
(13 April 1997)
Did You Know?
Despite the fact that this was filmed in Super 35, "Filmed in Panavision" is listed in the end credits.
After the first anaconda breaks through the glass to get Terri, Serone shoots the snake in the mouth with a tranquilizer dart. As the snake reacts to the dart, you can clearly see the wires under him that are controlling his actions.
Never look in the eyes, of those you kill. They will haunt you forever. I know.
Brilliant Saturday Matinee Classic
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
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
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
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
This is a brilliant re-creation of the lost art of the 1950's
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
American actors, Jon Voight, doing a magnificent over-the-top, slimy,
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
In 20 years, they'll be calling this a classic. I'm calling it one