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Jennifer Lopez - The Reel Me

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Jennifer Lopez - The Reel Me

Jennifer Lopez - The Reel Me

Sony
"Alive" is a pleasant enough ballad, but anyone who delights in great dance music remembers the Thunderpuss Mix of this track, which still ranks among Cox and Harris' finest efforts. It would have been interesting if, in keeping with the original/remix dichotomy set up with "I'm Real" and "Ain't it Funny," one of the re-edited videos that used the Thunderpuss Mix had been included as well. "I'm Gonna Be Alright" is presented in the Track Masters' Club Nouveau "Why You Treat Me So Bad"-derived Remix video, which springs from Jodie Foster's Taxi Driver outfits and, shades of "Feeling So Good," serves as another travelogue, this time for Spanish Harlem. "Jenny from the Block" is reknowned for its footage of Lopez with Ben Affleck, but what stands out at this point in viewing the video is its experimental quality, using many different film and video stocks and gauges to provide several different milieux for Lopez, and while the song is fairly unexceptional, there's a provocative use of grain and differing visual aesthetics at work here. "All I Have"'s Christmastime breakup theme is a nice shout-out to "No Me Ames" in terms of its hyperexaggerated emotions, but the most notable aspect of the audiovisual experience is the Debra Laws
"Very Special" sample which runs counterpoint to the Lopez/LL Cool J interplay.

"I'm Glad," with its Schooly D "PSK" rhythm track and all its legal drama with Paramount Pictures, is still a stunning effort, where Lopez and David LaChappelle recreate Flashdance to a tee. You can sense Lopez' joy in the video, as well as the punishing dance work on display. It's my second favorite video on the whole DVD ("Waiting for Tonight" still being first), and one of Lopez' most interesting efforts. The disc ends with "Baby I Love U!" which is minimalist and stark and much more inspired than the song that forms its spine. Visually, in fact, there's something quite experimental going on with its almost exclusive use of close-up and shifting focal length. This is certainly a promising development in Lopez' continuing evolution as a visual artist, and we can hope she'll work with director Meiert Avis again soon. For that matter, her work in Gigli is a great performance, easily the best she has given in a film since "Out of Sight" in 1998. So much ink gets devoted to Lopez as an icon or as gossip fodder, yet it cannot be denied that she has given music video an intriguing and playful body of work. Here's to more.

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