Love? isn’t the all-out dance album it could—and should—have been.
The film is the kind of mass-produced, phoned-in laziness that reinforces mainstream entertainment’s bad name.
It’s worth sticking with the film for Marc Anthony’s performance.
Brave aims to uphold the standards of individuality that we have, for whatever reason, come to expect from our dance floor divas.
Leon Ichaso’s El Cantante blows its load early.
Como Ama Una Mujer is less than a shrewd move for one of pop culture’s savviest icons.
Miramax’s shelf-cleaning project continues with this prototypical WE-channel mushfest.
It remains to be seen who’s going to want to pay $28.98 for what amounts to PR spin.
Hollywood has been especially harsh on its aging actresses lately.
Ultimately, Rebirth is just another mediocre chapter in “The Story of J. Lo.”
Shall We Dance? Let’s not.
It looks great (thanks to Vilmos Zsigmond), but can hardly muster a single laugh.
Peter Chelsom’s Shall We Dance? may be the most polite seven-year-itch comedy ever made.
The film is an old-fashioned ode to paternal love that shamelessly goes for its audience’s tear ducts.
There are no extras on this disc, not even a slice of that turkey J. Lo offers Ben sometime after Chapter 15’s pilate sex talk.
Romantic comedy. Mob spoof. Dysfunctional family melodrama. Rain Man Redux.
It’s not too difficult to pinpoint exactly where Marisa Ventura went wrong.
Jennifer Lopez makes a surprising step toward more adult-oriented R&B on her third studio album.
The drama has been seemingly extracted from all sorts of domestic abuse manuals and pamphlets and the result is strangely akin to a Lifetime see-Jane-run procedural.
Capitalizing on Jenny Lo’s re-ignited music career, Epic has issued J to tha L-O, a collection of new and previously unavailable remixes.