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    Final Dress

    DFW theater actors release killer horror movie set on Dallas stages

    Lindsey Wilson
    Jul 21, 2023 | 1:45 pm
    The Finale movie

    Madison Calhoun in The Finale.

    Courtesy photo

    Some of Dallas-Fort Worth's most notable theater practitioners recently turned their talents toward a different medium: film.

    The Finale, a theater-themed horror film, is being released on July 28 to stream on Amazon Prime, Apple, VUDU, and YouTube VOD.

    It's penned by Michael Federico and directed by Christie Vela (associate artistic director at Theatre Three), who also co-host a horror movie podcast called Terror and Tacos.

    The film is from Octane Multimedia and produced by Max Hartman and Brandon Potter, with Desiree Fultz acting as production manager and first assistant director.

    It stars Gabrielle Reyes as Sagan Riley, a triple-threat who has her sights set on Broadway. When she’s accepted to the legendary Stage Left Theater Camp, she thinks her dreams are within reach.

    Sagan spends her days singing, dancing, acting, and dreaming of love. But soon the Stage Left instructors and Sagan’s fellow campers start dying off one by one. Now, Sagan will have to survive rehearsal and discover the killer, if she’s ever gonna make it.

    Eagle-eyed viewers will spot local actors Kenneisha Thompson, Madison Calhoun, Parker Gray, Paul Taylor (Pinhead from the Hellraiser franchise), Liza Marie Gonzalez, Katy Tye, Drew Wall, Lydia Mackay, Danielle Georgiou, Jason Villareal, Theatre Three artistic director Jeffrey Schmidt, and noted Dallas director and choreographer Joel Ferrell.

    Patrons will also recognize the Frank Lloyd Wright-designed Kalita Humphreys Theater and Uptown's Theatre Three, where most of the film takes place.

    Boasting an all-Dallas film crew and post-production team, The Finale is a true Texas film through and through.

    "I acted as executive producer and funded the project because when I heard my hilarious and uber-talented old friends Christie and Michael talk about making their own horror film and who they had already cast in it, I immediately asked to meet with them," says Hartman. "I read the first 30 pages of the script on the way to meet them at a coffee shop and loved it. I proposed right then that I help fund the project and help find and hire a film crew that was down to work with a bunch of theater folks on their first feature."

    "Apart from this being a life-long goal for me, the best part about this was that two amazing groups of artists, from two seemingly related but separate disciplines, theater and film, all local (we're super proud of this), came together to make this film happen," Vela tells CultureMap. "We all learned from each other every day. The toughest days are still some of the best days of my life, and there were days. I will forever be grateful to all of my Dallas theater colleagues who took this leap of faith with Mike and I."

    "There was a night we were shooting in the woods. It was our second overnight shoot in a row, so everybody was tired. And it was July, and so hot, and the cicadas were actively trying to destroy us. It could have been miserable," shares Federico. "But I remember watching Christie, the cast, and crew shooting a scene. And they were all so good at their jobs, and so much fun to be around all the time, that I remember thinking, there’s really no place I’d rather be than in the Texas heat, in the middle of the woods, working with these people."

    "My driving mission besides helping my friends make a movie was to dispel the oft-heard notion that 'theater actors' can’t act in film," says Hartman. "It was also always bizarre to me that the film and theater communities in town were so segregated. Very rare to see them mix. Every actor in the film is a 'theater actor' and they’re all amazing. It was hilarious to hear the crew go, 'Where did you get these actors? They all know all of their lines.'"

    Watch the trailer below, and follow The Finale on Facebook and Instagram for updates:

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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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