“Anaconda” stars Jack Black and Paul Rudd in an all new adventure. (photo © CTMG. All Rights Reserved)

Not that: ‘Anaconda’

Who doesn’t like a meta premise? It worked for “21 Jump Street” at least once. But otherwise, it’s a gamble, deemed a win if it’s clever or funny. But if that’s not the case, it’s a grim reminder that Hollywood is out of original ideas, even while the film tries to poke fun at the dilemma, desperately trying to make itself immune to such criticism. 

Sorry, but no. This “Anaconda” deserves no such amnesty. 

In theory, Jack Black and Paul Rudd should be the perfect duo to pull it off, but “Anaconda” gets too bogged down with plot that it never lets a single joke or humorous moment sneak in. 

The premise, well, something. Struggling actor Ron (Rudd) can’t catch a break in Hollywood, while Doug (Black) never took the change, settling for a safe gig creating wedding videos. Then Ron returns home for his old bestie’s birthday with a special surprise: He acquired the film rights to “Anaconda,” the old horror film starring J-Lo and Ice Cube they once adored. 

The plan is simple: A three-week production with minimal casting and a rented anaconda. They bring along their old friends (played by Thandiwe Newton and Steve Zahn) for the adventure and include the snake trainer (Santiago Braga) and boat captain (Daniela Melchior), who’s running from someone for an unknown reason. 

Little does anyone know, a massive anaconda will soon sabotage their last chance to escape dull, uneventful lives. 

That’s the kind of premise that could set up a laugh factory. Not sure what this is. Nothing, absolutely nothing funny occurs. It’s easy to see where writer-director Tom Gormican (“The Unbearable Weight of Massive Talent,” “Beverly Hills Cop: Axel F”) and his co-writer Kevin Etten want us to laugh. But it doesn’t work at any point. 

Sidney Sweeney and Amanda Seyfried star in “The Housemaid,” a new film by director Paul Feig. (photo by Daniel McFadden/Lionsgate)

This: ‘The Housemaid’

Until now, director Paul Feig (“Bridesmaids,” “A Simple Favor”) had four duds in a row, and Sidney Sweeney can’t get out of her own way, along with three underwhelming films this year. That’s two strikes against “The Housemaid” before the opening credits even begin. 

Luckily, Feig pulls off a fantastic thriller, delivering an incredible performance by Amanda Seyfried and a passing one for Sweeney. This could’ve easily been a miss, but it’s a surprise win with plenty of satisfying twists. 

The first half feels very straightforward: A crazy rich wife (Seyfried) terrifies the new live-in cook, cleaner and sometimes sitter (Sweeney). The man of the house (Brandon Sklenar) manages his wife’s explosive moods and still finds time to flirt with the new help. 

It all seems headed one way, but it’s not. And when that shift occurs, “The Housemaid” becomes an entirely different experience that dances between romance, thrills and even a dash of horror, though it heavily relies on voiceovers to clearly, very clearly, perhaps too clearly guide spectators. 

It pretends to be Sweeney’s film with a narration explaining her background, motivations and current thought process. But that’s just the first half, which seeks to sway to one, and only one, outcome. Just remember: Seyfried is the real star. 

Don’t call it the best film of the year or even the holiday season, but “The Housemaid” is a lot of fun, a thriller that invites guessing on how it will end. Don’t let Feig’s recent hiccups convince you otherwise. As for Sweeney, yes, her acting is often frustrating, particularly her flat delivery. (And she certainly appears to be a tone-deaf celebrity.) 

If you can ignore all that, she’s a fine fit. Not amazing or even great, but adequate. Many other actors could’ve filled the role much better. No matter, Seyfried reigns in the surprise film of December.