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    Film Fest News

    Dallas Int'l Film Festival 2025 will debut Oscar-contender flicks

    Teresa Gubbins
    Mar 26, 2025 | 5:31 pm
    Ben Dorcy

    King of the Roadies Ben Dorcy

    Piper Ferguson

    The lineup has been revealed for the 19th edition of the annual Dallas International Film Festival, taking place April 25-May 1 with more than 120 films, Q&A sessions, filmmaker and actor panels, nightly DIFF Red Carpets, and special events.

    Cinépolis Luxury Cinemas Victory Park, located at 2365 Victory Park Ln., will serve as the host venue. Additional screenings and events will be held in the AT&T Discovery District, the Harwood District, the Texas Theatre, and Virgin Hotels Dallas, which returns for the third year as the Premier Sponsor of the Festival.

    The Festival comes this year with extra cachet as it was named in October as an Oscar-Qualifying Festival by the Academy of Motion Picture Arts and Sciences. This increases the festival's visibility as well as its appeal for filmmakers who are angling to earn a nomination for an Academy Award. DIFF is one of only 59 film festivals in the U.S. on that list.

    According to DIFF Artistic Director James Faust, highlights include the world premiere of Happy As Larry, whose screenplay was a semifinalist in the festival's screenwriting competition in 2024; and a music and film panel with Abraham Alexander, who was nominated for an Academy Award for Best Original Song for Sing Sing, which played at DIFF in 2024.

    Among the lineup of feature films for DIFF 2025 so far are these world premieres:

    A PORTRAIT OF A POSTMAN (Documentary) (USA) Director: Chris Charles Scott
    True story of Kermit Oliver, a reclusive genius who spent decades working the graveyard shift at a Texas post office — while secretly creating masterpieces that would hang in the Smithsonian and designing million-dollar scarves for Hermès.

    THE CONFESSION (Narrative Feature) (USA) Director: Will A Canon
    Set in rural Texas, a struggling musician moves back into her childhood home and discovers a disturbing family secret that threatens to unravel her entire life.

    DIY: THE RISE AND FALL AND RISE OF PUNK (Documentary) (USA) Director: Joel Cecilio Herrera
    DIY is an extrospective dissection of Pop-Punk; from the SoCal garages of the 80’s to the enduring impact the genre has had on music, fashion, and culture.

    DUE WEST (Narrative Feature) (USA) Director: Evan Miller
    A small-town woman in need of medical care in West Texas is forced to break the law.

    HAPPY AS LARRY (Narrative Feature) (United Kingdom) Director: Hugo Andre
    Unsatisfied with life after years of writing novels far more interesting than his own life, Larry decides to go on one last adventure in the Isle of Skye before his scheduled demise.

    KINTSUGI DREAMS: THE UNMUKT CHAND STORY (Documentary) (India) Director: Raghav Khanna
    The film follows Unmukt’s journey from India to the United States as he tackles issues of immigration, patriotism and identity while trying to fulfill his childhood dream of playing international cricket.

    MATTER OF TIME (Narrative Feature) (USA) Director: Jeremy Snead
    Charlie Fleck, a 29-year-old aspiring videogame designer, is given the opportunity of a lifetime with a time-stopping device given to him by his friend, an eccentric toy shop owner, Gibbs.

    NIGHT IN WEST TEXAS (Documentary) (USA) Director: Deborah S. Esquenazi
    Forty years after a gay Apache man is framed for the brutal murder of a closeted Catholic priest, a police chief uncovers long-buried evidence that shakes up the small, oil-rich West Texas town that imprisoned him.

    THE OTHER (Narrative Feature) (USA) Director: Paul Etheredge
    After years of struggling with infertility, a Caucasian couple, Daniel and Robin, become foster parents to Kathelia (8), a mute, African American orphan, with the hope of becoming a permanent family. The challenges begin immediately.

    THE SALAMANDER KING (Narrative Feature) (USA) Director: Austin Nichols
    Indie comedy focuses on a group of Austinites who work and play at a municipal golf course that’s come under threat of extinction due to the city’s rapid growth.

    TAKE IT AWAY (Documentary) (USA) Director: Adrian Alejandro Arredondo
    The meteoric rise of Tejano and Regional Mexican music can arguably be traced to one man: Johnny Canales, whose syndicated music variety show launched the careers of legendary musicians like Selena, Ramon Ayala, and Intocable.

    WILLIE NELSON PRESENTS: KING OF THE ROADIES (Documentary) (USA) Director: Amy Lee Nelson
    Nelson and friends share stories of the enigmatic Texan, Ben Dorcy (aka Lovey), an unsung hero who shaped American music history, pioneered an entire profession as the world's first roadie, and rivaled time itself to keep the show on the road.

    The festival will also feature live screenplay table reads, awards, and other events and activations where filmmakers, screenwriters, film industry leaders, celebrities, sponsors, and audiences come together to experience and discuss film. Films are curated from submissions received by filmmakers worldwide, across Texas, and the U.S., and include narrative features, documentaries, and short films of all genres from studios and independent filmmakers.

    Grand Jury Prizes for DIFF 2025 will be awarded for Best Texas Short Film, Best Texas Feature, Best Documentary Short Film, Best Documentary Feature, Best International Feature, Best International Short Film, Best Narrative Feature, Best Animated Short Film, and Best Student Film within the Shorts Competition. Additionally, Audience Awards will be given for Best Documentary Feature, Best Narrative Feature, and Best Short Film. There will also be a Dallas County Historical Commission Prize for Best Historical Film.

    Oscar Qualifying short film awards at the Dallas International Film Festival are: Grand Jury Prize - Best Animated Short Film; Grand Jury Prize - Best Documentary Short Film; and Grand Jury Prize - Best Narrative Short Film. Films that win qualified awards between October 1, 2024, and September 30, 2025, may be qualified to enter the 98th Academy Awards, provided that the films meet all the requirements set forth in the official rules for that season.

    Passes for the Dallas International Film Festival are on sale at dallasfilm.org/diff/passes. Tickets will be available to the general public on April 7.

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    Movie Review

    Comedy all-stars Jack Black and Paul Rudd can't save Anaconda sequel

    Alex Bentley
    Dec 26, 2025 | 1:01 pm
    Jack Black and Paul Rudd in Anaconda
    Photo by Matt Grace
    Jack Black and Paul Rudd in Anaconda.

    In Hollywood’s never-ending quest to take advantage of existing intellectual property, seemingly no older movie is off limits, even if the original was not well-regarded. That’s certainly the case with 1997’s Anaconda, which is best known for being a lesser entry on the filmography of Ice Cube and Jennifer Lopez, as well as some horrendous accent work by Jon Voight.

    The idea behind the new meta-sequel Anaconda is arguably a good one. Four friends — Doug (Jack Black), Griff (Paul Rudd), Claire (Thandiwe Newton), and Kenny (Steve Zahn) — who made homemade movies when they were teenagers decide to remake Anaconda on a shoestring budget. Egged on by Griff, an actor who can’t catch a break, the four of them pull together enough money to fly down to Brazil, hire a boat, and film a script written by Doug.

    Naturally, almost nothing goes as planned in the Amazon, including losing their trained snake and running headlong into a criminal enterprise. Soon enough, everything else takes second place to the presence of a giant anaconda that is stalking them and anyone else who crosses its path.

    Written and directed by Tom Gormican, with help from co-writer Kevin Etten, the film is designed to be an outrageous comedy peppered with laugh-out-loud moments that cover up the fact that there’s really no story. That would be all well and good … if anything the film had to offer was truly funny. Only a few scenes elicit any honest laughter, and so instead the audience is fed half-baked jokes, a story with no focus, and actors who ham it up to get any kind of reaction.

    The biggest problem is that the meta-ness of the film goes too far. None of the core four characters possess any interesting traits, and their blandness is transferred over to the actors playing them. And so even as they face some harrowing situations or ones that could be funny, it’s difficult to care about anything they do since the filmmakers never make the basic effort of making the audience care about them.

    It’s weird to say in a movie called Anaconda, but it becomes much too focused on the snake in the second half of the film. If the goal is to be a straight-up comedy, then everything up to and including the snake attacks should be serving that objective. But most of the time the attacks are either random or moments when the characters are already scared, and so any humor that could be mined all but disappears.

    Black and Rudd are comedy all-stars who can typically be counted on to elevate even subpar material. That’s not the case here, as each only scores on a few occasions, with Black’s physicality being the funniest thing in the movie. Newton is not a good fit with this type of movie, and she isn’t done any favors by some seriously bad wigs. Zahn used to be the go-to guy for funny sidekicks, but he brings little to the table in this role.

    Any attempt at rebooting/remaking an old piece of IP should make a concerted effort to differentiate itself from the original, and in that way, the new Anaconda succeeds. Unfortunately, that’s its only success, as the filmmakers can never find the right balance to turn it into the bawdy comedy they seemed to want.

    ---

    Anaconda is now playing in theaters.

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