On February 23, 2000, Lopez, accompanied by then boyfriend Sean Combs, wore a plunging exotic green Versace silk chiffon dress on the red carpet of the 42nd Annual Grammy Awards. The dress "had a low-cut neck that extended several inches below her navel, where it was loosely fastened with a sparkly brooch and then opened out again," exposing her midriff and then as cut along the front of the legs like a bath robe. The dress generated controversy and media attention, with images of Lopez in the dress being downloaded from the Grammy website over half a million times 24 hours after the event. Lopez was surprised by the enormous media coverage, declaring that she had no idea "it was going to become such a big deal". Lopez returned to the big-screen in August, starring in the psychological thriller The Cell opposite Vincent D'Onofrio.
The depiction of a crime infested Mexico and the stereotypical portrayal of most Mexicans and Latinos as criminals prompted critics to accuse the film of racism, xenophobia, and pandering to supporters of the Trump presidency. Peter Bradshaw of The Guardian called Last Blood a "massively enlarged prostate of a film [that] can only make you wince with its badly acted geronto-ultraviolence, its Trumpian fantasies of Mexican rapists and hilariously insecure US border, and its crass enthusiasm for rape-revenge attacks", giving it 1 out of 5 stars. Seibold wrote: "I understand that Rambo films have rarely been bastions of cultural togetherness, but in 2019, these broad stereotypes are offensive and dated and downright irresponsible." Kohn wrote: "In 2019's hypersensitive cultural environment, the depiction of murderous Mexican crime bosses and their cowering sex slaves encountering a literal white savior doesn't go down so easy." Mexican film critic Gerardo Valero, a "far-flung correspondent" for RogerEbert.com, also criticized the use of Spain doubling for Mexico, and that it was "impossible not to laugh at this group of Spanish actors trying to sound Mexican by cursing with every other word in this strange accent". He also wrote: "If this movie wasn't so dumb, I would have probably found all of this offensive." Addressing the complaints about the stereotypical villains, however, Bowles wrote: "The villains might be built from the stereotypical strain of pure evil from years past, but their reprehensibility is what makes the explosive payback work and the violence, despite some especially grim moments, never quite strays into the extreme stomach churning highs from part IV."
More InfoCritics reported being appalled by the brutality of the action scenes, with some comparing its amount of gore with that of a slasher film. Berardinelli said, "The body count is insanely high and the methods of death are worthy of a Halloween or Friday the 13th sequel", and gave the film 1 out of 4 stars. Debruge called the violence "horrible, gut-wrenching carnage to witness, and yet, it's been calibrated to elicit whoops and cheers from fans, who've faithfully followed along as Rambo evolved". Vince Mancini of Uproxx said, "It's so genuinely horrific I'm convinced there are real-life cartel videos celebrating the torture of rivals that are less gory", but recommended the film as a must-see. Conversely, Johnny Oleksinski of the New York Post said, "Rambo: Last Blood features what's easily the most violent movie scene of the year. It's awesome", but felt the narration, drama, and hackneyed backstory could have been edited out. Duncan Bowles of Den of Geek gave it 3 out of 5 stars, writing: "If you're not the kind of person who wants to weep with joy at the sight of Rambo tooling up, firing a bow, or rigging booby traps, then the film really isn't for you, but if you're after a solid display of carnage from a character you love, then there's plenty on offer." Many saw the climax of Last Blood as similar to that of Home Alone, which, by contrast, is rated PG.
More InfoWith a cumulative film gross of US$3.1 billion and estimated global sales of 70 million records, Lopez is regarded as the most influential Latin entertainer in the United States. In 2012, Forbes ranked her as the most powerful celebrity in the world, as well as the 38th most powerful woman in the world. Time listed her among the 100 most influential people in the world in 2018. Her most successful singles on the US Billboard Hot 100 include: "If You Had My Love", "I'm Real", "Ain't It Funny", "All I Have", and "On the Floor", the lattermost of which is one of the best-selling singles of all time. For her contributions to the recording industry, Lopez has received a landmark star on the Hollywood Walk of Fame, the Billboard Icon Award, and the Michael Jackson Video Vanguard Award among other honors. Her other ventures include clothing lines, fragrances, the production company Nuyorican Productions, and the nonprofit business Lopez Family Foundation.
More InfoLopez ventured into the music industry with her debut studio album On the 6 (1999), which helped propel the Latin pop movement in American music. With the simultaneous release of her second studio album J.Lo and her romantic comedy The Wedding Planner in 2001, Lopez became the first woman to have a number-one album and film in the same week. Her 2002 remix album, J to tha L–O! The Remixes, became the first in history to debut atop the US Billboard 200. Later that year, she released her third studio album This Is Me... Then, and starred in the US box office number-one Maid in Manhattan.
More InfoThe depiction of a crime infested Mexico and the stereotypical portrayal of most Mexicans and Latinos as criminals prompted critics to accuse the film of racism, xenophobia, and pandering to supporters of the Trump presidency. Peter Bradshaw of The Guardian called Last Blood a "massively enlarged prostate of a film [that] can only make you wince with its badly acted geronto-ultraviolence, its Trumpian fantasies of Mexican rapists and hilariously insecure US border, and its crass enthusiasm for rape-revenge attacks", giving it 1 out of 5 stars. Seibold wrote: "I understand that Rambo films have rarely been bastions of cultural togetherness, but in 2019, these broad stereotypes are offensive and dated and downright irresponsible." Kohn wrote: "In 2019's hypersensitive cultural environment, the depiction of murderous Mexican crime bosses and their cowering sex slaves encountering a literal white savior doesn't go down so easy." Mexican film critic Gerardo Valero, a "far-flung correspondent" for RogerEbert.com, also criticized the use of Spain doubling for Mexico, and that it was "impossible not to laugh at this group of Spanish actors trying to sound Mexican by cursing with every other word in this strange accent". He also wrote: "If this movie wasn't so dumb, I would have probably found all of this offensive." Addressing the complaints about the stereotypical villains, however, Bowles wrote: "The villains might be built from the stereotypical strain of pure evil from years past, but their reprehensibility is what makes the explosive payback work and the violence, despite some especially grim moments, never quite strays into the extreme stomach churning highs from part IV."
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