Displaying items by tag: Jennifer Lopez

ANACONDA

US, 2025, 99 minutes, Colour.

Jack Black, Paul Rudd, Steve Zahn, Thandiwe Newton, Daniela Melchior, Selton Mello, Ione Skye, John Billingsley, Ice Cube, Jennifer Lopez.

Directed by Thomas Gormican.

Once upon a time, well, in fact, 1996, there was a famous snake-adventure-thriller, set in the Amazon, about a company making a film about an Anaconda. And the stars were Jennifer Lopez, Ice Cube, Jon Voight, Eric Stoltz. It was one of those films which many considered so bad that it is good and enjoyable. And, there were some attempts at sequels and spin-offs.

Almost 30 years later, here is an ambitious rebooting with explicit reference to the original. And, with Jack Black and Paul Rudd as the stars, it has strong comedy intentions. And, audiences have enjoyed it, accepting all the silliness in the ideas and execution, looking for the parallels, and lots of visual and verbal jokes. And, even Ice Cube turns up again – and an unexpected but hoped-for cameo right at the end!

Stole satiric American comedies might remember filmmaking and the comedy, Tropic Thunder.

The presupposition is that two young boys, growing up together, had a love for horror films and made one together, along with another friend who is a photographer. But, life has not turned out quite as expected. Jack Black makes videos for weddings, even to incorporate some touches of horror conventions. He has a nice wife, family, but has not succeeded as he hoped for. Paul Rudd is seen as an actor who has not quite achieved what he hoped for, rehearsing a few lines for an audition, a variety of renderings – and then being fired. Steve Zahn is a local friend, problems with drugs and drink, the photographer, working on the wedding videos but being fired.

The proposition is that the actor says he has the rights to Anaconda and would love to remake it with his friends, raising some money, very limited, joining with a friend from the old days, played by Thandiwe Newton, setting out for the Amazon (with Queensland scenery standing in for the Amazon), and finding a local who has a talent for managing Anacondas (an amusing turn from Selton Mello). But, in the meantime, without the film crew’s knowledge, there are issues between goldminers, smugglers and local police.

Put everything in the mix, stir, complications with the police and the smugglers, many shots of the filming, pratfalls and mess ups, action with the Anaconda, some personal falling out and jealousies…

But, there is much more to come, especially when an actual film company passes them on their way to locations for shots. And, then, an enormous Anaconda who can swallow people whole and regurgitate them (and some close-ups of this!). In the jungle, smugglers and the authorities, and refugees from the film company, fleeing from and then conquering the Anaconda.

So, some desperate situations, rescues and survival, some footage of the film – and a screening at the Buffalo International film Festival where they all come from. Much of this version of Anaconda may not stay in the memory, but it is amusingly silly while we are watching.

KISS OF THE SPIDERWOMAN

US, 2025, 129 minutes, Colour.

Jennifer Lopez, Tonatiuh, Diego Luna, Bruno Bischir?

Directed by Bill Condon.

The popular and award-winning film of 1985, meant popularity of the title, Kiss of the Spiderwoman. It was based on a 1976 novel by Manuel Puig, two prisoners during the rule of the Generals in Argentina. In the early 1990s, poses and lyricists, John Kander and Fred Ebb (Cabaret, Chicago, New York, New York) wrote the songs for a musical version, with the book by prolific, award-winning librettist, Terence McNally. It has taken over 30 years for a film version, directed by Bill Condon.

The setting here is 1983, Valentin a political prisoner involved in revolutionary activity, now shares a cell with the gay Luis Molina, accused of indecent behaviour (though placed in the cell to get information from Valentin and receive a parole to see his mother, the promise of the warden). The two seem to be incompatible, Valentin with a touch of homophobia, but Molina’s chatter, camp style, at first getting under the skin of Valentin but, gradually a friendship developing, sharing and support, some intimacy, the mellowing of Valentin, a greater humanising of Molina.

Originally, the two had conversations about movies. In the musical, the musical numbers provide the impetus for a change of consciousness in Valentin. The point is very quickly made that the movies are escapism, that musicals are escapism that take us well beyond the ordinary, especially Hollywood musicals with the bright saturated colours, sets and decor, lavish and stylish costumes, and the vitality of the choreography.

This is the theme of the role of escapism in life, its necessity, the effect on consequences, its healing power.

The musical sequences (Bill Condon did direct Dreamgirls) excitingly staged, especially the dancing. The narrative is basically a blend of romance and self-sacrifice, Aurora, an editor, her assistant devoted to her, a charming gentleman arriving, complex of emotion, but then a situation, Latin American style, a mysterious figure in the jungle, the Spiderwoman and her web, the tangling of the characters, an issue of self-sacrifice.

Diego Luna plays Valentin, serious, calm, tortured, food poisoned, tended carefully by Molina. Film, television and stage actor, Tonatiuh, may not have been noticed so much before this but, his performance as Molina is continually attention grabbing, creating a significant character. And, each of them has a role in the musical, a display for singing and dancing as well.

And the other surprise of the film is the performance by Jennifer Lopez as the editor as well as the Spiderwoman, singing, performance, and, especially her dancing, physical, rhythmic, full of energy (and the surprising reminder that she is in her mid-50s).

The response to the film has been very mixed. There is praise for the performances. Those who enjoy musical versions of what have been previously serious dramas may be satisfied as to how the themes of the drama have been enhanced by the film within the film. Those who valued the original novel and the 1980s film version may feel that it should have been left alone.

But, here it is, reminder of the oppression/repression in Argentina, the torture, the disappearances. And, it is a well-told tale of an unlikely friendship. And the question of the place of escapism and happiness in situations of suffering.

1. Argentina 1983, the role of the generals, oppression, mass imprisonment, torture and executions? The end of 1983 and the end of the generals?
2. The original novel and its popularity, the film version in 1985 and its effect, awards? Kander and Ebb in the 1990s, the Broadway musical? 30 years later a film version? The background of the film, Terrence McNally writing the book, Kander and Ebb and the score, Bill Condon and his musicals?
3. The situation, the prison, exterior walls, the cells, the corridors, the office of the warden? Scenes outside in the streets, ordinary life, life under oppression?
4. The framework of the prison story, the Valentin, his background, revolutionary, hard life in the past, the rally, the death of his sister, his motivations, his encounter with Marta, wealthy, in love with her, his revolutionary work, arrest? Age, appearance, the torture, the effect of prison, the reaction of the guards?
5. Luis Molina, age, background, arrested for indecency, his gay style and camp, personality, wanting to be like Joan Crawford, the attraction of women and their style, acknowledging his orientation? The reaction of the guards? The interviews with the warden, spying on Valentin, to get information, the promise of parole, wanting to be with his mother, his mother supplying food?
6. The interactions between the two men, Valentin’s reaction to Molina, as a person, as gay, his style, prejudices, the touches of homophobia? Conversations between the two, the importance of movies musicals, movies and escapism, escapism during prison experience, the telling of the stories, the effect on each of them, Molina and his exhilaration, Valentin and listening to the stories, the effect?
7. The background of spying, the poisoning of food, Valentin sick, his stomach, faeces, Molina and his response, washing the clothes? Valentin and his growing appreciation? The time passing, the conversations, dependency, friendship, the emotional and physical effect on Molina, Valentin, the experiences of desperation, the experience of support, the move towards intimacy, friendship, sexual, the effect on each man? And the taunts of the guards?
8. The musical version, Hollywood, the films of the 40s and 50s, full and saturated colour, the characters, costumes and decor, melodramatic plots, the singing, the choreography and the dancing? The plot themes, the world of fashion, editing, affluence, jealousy and rivalries? And the pathology of the Spiderwoman, visualised, her net, her effect on each of the characters, demanding a sacrifice?
9. Jennifer Lopez as the actress, as the character within the film, as the Spiderwoman? Singing, her energy and the complexity of the dancing and performance? The two men and their contributions, singing and dancing?
10. The basics of the plot, Aurora as the editor, her assistant, Mo as her lina moving into the action of the film, assistant, protective, in love, jealous? Valentin as Armando, his style, his presence, his girlfriend, the reality of the love, jealousies, betrayal, into the jungle, the confrontation with the Spiderwoman, and the self-sacrifice?
11. The warden, the interrogations, information? The other authorities? The issue of the food, Molina making his demands, their shopping, the happy meal and Valentin enjoying the food?
12. The signing of the parole, Molina packing up, the posters, the bags, the farewell to Valentin, emotional, Valentin watching him go?
13. The aftermath, Molina, walking the streets, accommodation, going to the cinema, the blending of reality and fantasy?
14. His decision, making the contacts, the meetings, his past lover, the clash, the connection with the revolutionaries, in the cinema, fleeing, the monster film playing behind the chase, the final confrontation, escape in the taxi, his fall, his being shot? Some kind of fulfilment in his life, self-sacrifice?
15. In the final end of the role of the generals, the emptying of the prison, Valentin and his walking the city, and raising the red scarf from Melina?

ATLAS

US, 2024, 118 minutes, Colour.

Jennifer Lopez, Simu Liu, Sterling K.Brown, Gregory James Cohan, Abraham Popoola, Mark Strong.

Directed by Brad Peyton.

In 2001, Steven Spielberg directed the film, AI. While the reality of Artificial Intelligence was known, it was comparatively early days for the movies to explore the repercussions of AI, of robots, of collaboration between humans and artificial intelligence, conflicts.

This theme has continued very strongly through the following tickets.

In one sense, this is familiar material here. However, with computer-generated effects continually improving, this exploration has its spectacular moments, machines, robots, space travel, battles and conflicts.

However, this is a Jennifer Lopez film. She acts as Executive Producer as well as starring. While there are some supporting roles, especially from reputable actors like Sterling K.Brown and Mark Strong, the main focus is on Jennifer Lopez as a technology analyst, Atlas, is called on to confront a rebel robot threatening humanity through his knowledge, technological skills and the creation of a robot army.

While there is an introduction to the theme, especially the pursuit of a vicious robot, his being trapped and destroyed, yet his head surviving connected to machinery, challenging humans to confront his maker, Harlan (Simi Liu). There is a history between Atlas and Harlan, her mother having created him and the daughter feeling his being favoured over her and her resentment and action leading to potential disaster.

As an adult, Atlas is rather humourless, single-minded, agreeing to go on a mission to the planet where she has discovered Harlan is based.

The latter part of the film, Atlas is contained within the giant transformers -like robot was a very pleasant speaking voice (Gregory James Cohan) and a pleasant manner which she doesn’t respond to well. However, there has to be some kind of bonding for the success of the mission as well as for Atlas becoming more human herself. The interplay between Atlas and the transformer robot, whose name is Smith, bring some welcome lightness of touch to the serious proceedings.

So, a mission, a confrontation with Harlan, mission accomplished – and the world is saved until the next AI human-threatening movie.

1. The popularity of this kind of futuristic science-fiction? Advanced technology, space exploration? The development of AI, I created characters, skills and technology, overcoming humans, creating an army of robot warriors?
2. The photography, technology, space travel, the combat sequences, the transformer like armoured robots, the locations of different planets? The musical score?
3. The mood set with cascade, robot, confrontations, fight, destruction, Atlas confronting him, his body missing, but his head linked to the controls? His later reappearance, the multiple Cascas?
4. The credibility of the situation, the future, the scientists, creating the AI robots, the powers, codes, beyond human capabilities, the revolution, need for the pursuit of the Arch robot, the tactics, the expedition and disaster, at the centre survival, communication with Smith? Atlas and her background with Harlan?
5. The introduction to Gen Boothe, his plans, the discussion with Banks, the difference of opinion, especially towards Atlas? The decision for the expedition, the preparation of the Rangers? The issue of Atlas, her background, her mother is the scientist, her growing up with Harlan, her antagonism? Her role as an analyst rather than a warrior?
6. The introduction to the Transformer -like robots, the sequence with Zoe getting the cup of coffee? Importance of these robots?
7. The expedition, the flight, the attack, the disaster and destruction? Banks disappearing? Atlas, single-minded, humourless, being protected by Smith, Smith and his voice, programmed you human, the directions, wanted them to synchronise, her refusal, the searching of the remains, planning strategies, her being wounded, Smith’s methods of treating the leg? Language, humour, sarcasm – and Smith adapting?
8. There are ultimately bonding, working together, Atlas and her wariness, antagonism towards Harlan? The revelation of the background, her feeling neglected by her mother, her mother favouring Harlan, the antagonism?
9. Harlan, eventually appearing, his control, his abilities, his capture of banks, getting information after torture? Atlas captured, the collaboration with Smith, getting free, Banks and his help? The confrontation with Harlan and his robots, destruction?
10. Atlas, returning, mission accomplished, booths visiting her, her new robot protector – and the pleasant review acquaintance with Smith?
11. The popularity of this kind of futuristic AI scenario in the movies of the 2020s?