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CDS
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On The 6
Actress Jennifer Lopez's debut album fails in its attempt to provide a worthy musical backdrop to her much-discussed diva-esque image. Over the course of 13 songs, On the 6 displays barely a glimmer of the verve, poise, and sensuality of her screen performances in the likes of Out of Sight. With little vocal talent to rely on, Lopez generally seems content to ape Madonna's middle register like any happy radio listener. Similarly, several of the tracks here seem too rooted in the Latin-lite clichés of "La Isla Bonita." With practice--more Lopez CDs will surely follow in the wake of 6's success--the star might develop into a singer worth reckoning with, but for now she stands as a wonderful actress and a musical artist with an unengaging album to her name. Click here for more information or to order this CD.
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On The 6 [IMPORT] [EXTRA TRACKS] Click here for more information or to order this CD.
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If You Had My Love [IMPORT] [CD-SINGLE]
Click here for more information or to order this CD.
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If You Had My Love (U.K.) #1 [IMPORT] [CD-SINGLE] Click here for more information or to order this CD.
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If You Had My Love (U.K.) #2 [IMPORT] [CD-SINGLE] Click here for more information or to order this CD.
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VIDEOS
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This giant-man-eating-snake-in-the-jungle thriller definitely scores points as a guilty pleasure, especially with Jon Voight hamming it up as the monster-poacher. He makes life miserable for a team of documentary filmmakers on the Amazon river. Anaconda is one of those movies that exists for no other reason than to give computer animators a chance to strut their stuff with a new digital beastie, and they don't disappoint. It's a lot of fun to watch the mega-snake scarf down its victims and--in the case of Voight--regurgitate 'em right back up again, all covered in gooey digestive juices. You might wonder why Eric Stoltz, who plays Dr. Steven Cale, showed up for a role that requires him to be off-screen for most of the movie, but hey--when it comes to big snake movies, you might as well put your brain on hold and sit back for the slimy ride.
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You can feel the gears grinding, trying to turn this attempt at film noir into something sleek and insinuating, instead of the labored near miss it turns out to be. Jack Nicholson is a Florida wine merchant whose business isn't as good as he has his unhappy wife (Judy Davis) believe. He's also consistently at odds with his churlish stepson (Stephen Dorff). Meanwhile, Nicholson is plotting to steal an expensive diamond necklace and dump his wife, aided by his mistress (Jennifer Lopez) and a sleazy safecracker (Michael Caine). It's the kind of thing James M. Cain used to toss off effortlessly, but in director Bob Rafelson's hands the strain shows at every seam as crime and romantic treachery put all of the characters on a violent collision course.
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Jack is Francis Coppola at his most pointless noodling, looking for the film he wants to make instead of just making it. Robin Williams stars as 10-year-old Jack, a boy with an inexplicable disease that ages him at four times the normal human rate. Kept at home like a contemporary Boo Radley, Jack becomes a neighborhood legend until his parents relent and send him to school. In time, the other kids befriend him and stay loyal as his hyperdevelopment puts a strain on his body and emotions. The idea is sound, but the execution is a bore. The best the script and Coppola can come up with are painfully long scenes in which Williams's character proves himself on the playground and in gross-out contests in a tree house. Coppola fishes around for signs of life and spontaneity in these scenes, but the film is actually best when Jack has to cope with certain feelings in his mature body (such as his attraction to a character played by Fran Drescher) that he isn't prepared for emotionally. Jack would have been a lot better if Coppola had embraced a plan from beginning to end and stuck to it. Click here for more information or to order this Video.
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This attempt to reunite the stars of White Men Can't Jump will most likely be remembered as the movie that allegedly inspired a number of copycat arsons in the New York subway system. In other words, the movie itself is too perfunctory to be remembered for any other reason. Woody Harrelson and Wesley Snipes share their established chemistry as a pair of stepbrothers who work the subway detail as undercover detectives in the NYPD. Woody's a compulsive gambler with a huge debt problem to contend with, and he's also competing with his brother for the attentions of their new and beautiful partner (Jennifer Lopez), who's been assigned to join their investigation of the subway crimes. They're also supposed to guard the daily money train (so named because it contains each day's worth of subway fares), but Woody gets the bright idea that it might be the solution to his money woes. What follows is standard-issue action fare for the mid-1990s--lots of violence, excessive profanity, and attempts at witty banter between the costars to make it all seem more entertaining than it really is. You'd need to be a serious Harrelson, Snipes, or Lopez fan to add this movie to your collection. For anyone else, one viewing ought to be enough.
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Out of Sight scored critical raves, but its title sums up
the theatrical fate of Steven Soderbergh's coolly comic crime caper and
misfit romance based on Elmore Leonard's novel. But this is the sort of
buried treasure home video was created to rescue. Out of Sight is a rich, entertaining film, stylish without being showy, faithful to the integrity of Leonard's potent dialogue and quirky characters, and seamlessly acted by a dream ensemble. Standouts include Albert Brooks as convicted insider trader Richard Ripley, who while in prison brags to the wrong people that he has $5 million in uncut diamonds hidden in his house; Don Cheadle as Maurice (don't call him "Snoopy") Miller, with whom Jack warily teams up to steal said diamonds; Dennis Farina as Karen's protective father (his idea of a birthday gift is a Sig-Hauer .38); and, in unbilled cameos, Michael Keaton, reprising his Jackie Brown role as FBI agent Ray Nicolet, and Samuel L. Jackson.
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Gregory Nava (Why Do Fools Fall In Love?) directs this more-or-less official film biography of the late Mexican-American singer, Selena Quintanilla Perez (the film is coproduced by her father), which emphasizes sentimentality over conflict and plays down the star's horrific death at the hands of a deranged fan. Jennifer Lopez is quite good as Selena, whose roots we come to know through the story of her father (Edward James Olmos), a Corpus Christi singer who was rejected by white audiences. The script focuses primarily on Selena's inspiring rise, and it tries to muster some sense of urgent conflict over not-particularly-contentious issues (such as her relationship with a guitarist). But Olmos does a fine job portraying the elder Perez as a possessive sort, and the music and general buoyancy of Lopez's performance are infectious. The unavoidable subject of Selena's killer--a woman who happened to be the president of her fan club--is considerably and oddly downplayed. The film's original widescreen presentation and Dolby soundtrack can be appreciated on the DVD release.
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Oliver Stone used such words as "liberating" and "fun" to
talk about U Turn's relatively quick production schedule of 42 days. Stone's
ideas of film fun, however, are something older generations would call
sick. This film is a Southwestern noir tale about Bobby Cooper (Sean Penn),
a hotshot who is stuck in the tight confines of Superior, Arizona, when
his car breaks down. His subsequent adventure is a meatball comedy--loud,
obnoxious, and violent, and stuffed with diffused light, a hot cast, and
a no-fat Ennio Morricone score. This film has plenty of odd characters,
but you never really find out much about them. Bobby's first encounters
include a repulsive mechanic (Billy Bob Thornton under the grease) and
a blind Indian (Jon Voight under the makeup). Then there's Grace McKenna
(a sizzling Jennifer Lopez), who is as dangerous as the curves of her
red sundress. Bobby's got time to kill, and Grace seems more than willing.
Unfortunately, it seems that Bobby has never seen a movie such as A Touch
of Evil; if he had, he would know it can only get worse. About the time
Grace's husband, Jake (Nick Nolte), shows up, Bobby is knee-deep in murder
plots and double-crosses.
MUSIC LINKS BACKSTREET BOYS - CDs - Videos - Books BESTSELLERS - Page 1 BESTSELLERS - Page 2 RHYTHM N BLUES - Page 1 RHYTHM N BLUES - Page 2 RHYTHM N BLUES - New and Notable BRITNEY SPEARS CELINE DION - Page 1 CELINE DION - Page 2 CELINE DION - Biography COUNTRY MUSIC - Page 1 COUNTRY MUSIC - New and Notable COUNTRY MUSIC - Page 2 DANCE AND DJ DANCE AND DJ - New and Notable HIP HOP MUSIC - New and Notable JAZZ MUSIC - Page 1 JAZZ MUSIC - Page 2 JAZZ MUSIC - Page 3 JAZZ MUSIC - New and Notable JENNIFER LOPEZ - Page 1 JENNIFER LOPEZ - Page 2 MARIAH CAREY - CD's and DVD MARIAH CAREY - Video and Books MOVIE SOUNDTRACKS NEW AND FUTURE RELEASES NOTTING HILL - Soundtrack,Video,DVD,Books POP MUSIC - Page 1 POP MUSIC - Page 2 POP MUSIC - New and Notable RICKY MARTIN ROCK MUSIC - Page 1 ROCK MUSIC - New and Notable - Page 1 ROCK MUSIC - New and Notable - Page 2 SARAH MACLACHLAN - Page 1 SARAH MACLACHLAN - Page 2 SHANIA TWAIN WHITNEY HOUSTON |
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SEARCH HERE FOR SHEET MUSIC
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Anaconda
(1997) 
Blood
and Wine (1996) 
Jack
(1996) 
Money
Train (1995) 
Out
of Sight(1998) 
Selena
(1997) 
U
Turn (1997) 