Halftime Review: Jennifer Lopez, the Insecure Woman Hiding the Diva!
Halftime (Netflix) frequently reminds us that Jennifer Lopez is also a movie star, entrepreneur, philanthropist, and many other things. She follows Janet Jackson, Taylor Swift, and Beyoncé as the newest subject of her own pop star documentary.
J.Lo is honored for her talent, determination, and power in the documentary directed by Amanda Micheli; yet, it takes more than success to make a great documentary.
Jennifer Lopez Discloses Significantly More Than She Believes She Did
The film follows Jennifer Lopez from the day she celebrates her 50th birthday to the Super Bowl halftime show she co-headlines with Shakira in 2020.
There is much to be captivated by in this behind-the-scenes look at the life of a megastar, despite the fact that Jennifer Lopez’s diamond-encrusted drinkware threatens to steal the show.
Jennifer Lopez, the Insecure Woman Hiding the Diva
Over the course of 90 minutes, it reveals itself to be a peculiar and intriguing blend. Lopez is not shy in expressing her displeasure. The NFL has invited her to perform in the Super Bowl halftime show, a unique honor that guarantees her an audience of over 100 million viewers.
But the dual invitation with Shakira irritates Lopez, and their allowed performance time is comparable to that of a solo act, which puts them under pressure; Lopez sees it as “the worst idea.”
Benny Medina, her manager, goes further. “It was an insult to assume that two Latinas were required to execute the work that one artist had historically performed,” he says to the camera.
This hints at a more interesting story, which gradually emerges. Lopez denies being political, but she is the daughter of Puerto Rican immigrants living in Trump’s the United States, which she describes as “a United States I didn’t recognize.”
She places children in cages made of light on stage and disputes with the NFL over the idea (though the show’s director is initially more worried by the “controversial” suggestion of a stage in the shape of a feminine symbol).
Ben Affleck arrives to discuss the intensity of the tabloids throughout her early career. When he inquired if that disturbed her, she responded, “I’m Latina, I’m a woman, I anticipated this.”
The documentary temporarily adopts a Framing Britney Spears crusading tone, showing the harshest press treatment she endured and the numerous occasions when she was the punchline on late-night talk programs and South Park.
Before viewing this, I had forgotten that after a promising beginning, Lopez’s acting career became a punchline. She believes she had appeared in 40 films (“I don’t know, something like that”), but it was not until she produced and starred in Hustlers, a film about pole dancers, that she was taken seriously as an actor again.
It garnered her a nomination for a Golden Globe and rumors of an Oscar nomination, but we see her despair when the latter does not materialize.
Here is when the difficulty increases. As a narrative thread, positioning a beautiful, multitalented pop diva, movie star, and businesswoman as an underdog is not totally credible. Most viewers will find it difficult to relate to the pain of not receiving an Oscar nomination.
She appears hungry for praise, suggesting to her 70-year-old physician that he watch Hustlers. In one of the most charming scenes, she reads a chat thread in which a family group discusses an American football game.
One of her sisters mentions the positive reviews for Hustlers, which are acknowledged briefly before the conversation returns to the game. Her relationship with her mother is strained. Her curves made her an oddball in Hollywood in the late 1990s and early 2000s.
The media squabble around her love and personal life caused her to have “very poor self-esteem.”
I have no doubt, yet despite the fact that Lopez is still attempting to prove herself, the fact remains: she is a star. The footage of her early films serves as a reminder of her Hollywood success, and she is back on track at the box office.
The scenes of her rehearsing her dancers for the halftime show are equally as impressive as the event itself (“It takes a bit to warm up to me,” she tells them).
The film concludes with her performance during President Biden’s inauguration, followed by a rundown of her quantitative achievements, including sales figures, gross receipts, social media statistics, and streams.
Any audience viewing a feature-length film on her career will likely not require convincing that she has achieved success. Who is intended?
Lopez begins Halftime by stating, “The world is listening.” “What am I going to say?” In the end, I was only partially informed. The film is as smooth and attractive as one might anticipate, but it is also, at least superficially, honest and revealing, albeit it may expose more than she wanted.