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.
In the United States and Canada, the film was released alongside Downton Abbey and Rambo: Last Blood, and was projected to gross $15–20 million from 3,450 theaters in its opening weekend. The film made $7.2 million on its first day, including $1.5 million from Thursday night previews. It went on to debut to $19 million, finishing second behind Downton Abbey. The opening was compared to First Man (2018), another drama involving outer space which received high praise from critics but a lukewarm audience reception, resulting in a muted box office turnout despite its cast and budget. Deadline Hollywood deduced the film would lose $30 million off a projected $150 million final worldwide gross (a figure it would ultimately fall short of). The film made $10.1 million in its second weekend and $4.4 million in its third, finishing fifth and sixth, respectively.
More InfoLopez received her first professional acting gig in the direct-to-video drama film Lost in the Wild (1993), co-starring with Lindsay Wagner and Robert Loggia. Later in 1993, Lopez signed a deal with CBS to co-star in the television series Second Chances. Lopez received her first major big-screen role in Gregory Nava's 1995 drama My Family portraying Young Maria. Although her role was uncredited, Lopez received an Independent Spirit Award for Best Supporting Female nomination for her performance. In November 1995, Lopez starred in Money Train alongside Wesley Snipes and Woody Harrelson as New York City transit cops. In August 1996, Lopez had a supporting role in the comedy Jack.
More InfoIn 2015, Stallone and Rambo creator David Morrell re-developed the story for Rambo V; the actor wanted a "soulful journey" for the character that the author described as a "really emotional, powerful story". Stallone pitched the idea to the producers, but they wanted to proceed with the human trafficking story instead, prompting Stallone and Morrell to abandon it. In October 2015, Stallone pondered on the possibility of a prequel, stating: "It's intriguing to find the whys and wherefores of how people have become what they are. The traumas, the loss and the tragedy of being in Vietnam would certainly be a great challenge for a young actor, and it would be ironic that Rambo directs younger Rambo having played it for twenty years plus." In 2016, Stallone revealed that Rambo V was no longer in production.
More InfoThe script by Stallone and Matthew Cirulnick attained unfavorable reactions. In a negative review for The Hollywood Reporter, Frank Scheck said it "feels utterly tossed-off and generic, more resembling the pilot for a Rambo television series than a proper send off", but credited Stallone with "[keeping] a franchise afloat". Katie Walsh of the Chicago Tribune, who gave the film 1 out of 4 stars, called the script "barely a script at all" and the writing lazy; she added that story writers Stallone and Dan Gordon "trade on charged imagery rather than, you know, actually writing characters that fully express the spectrum of human morality". William Bibbiani of Bloody Disgusting said the script "has been reduced to its lowest common denominators, establishing characters quickly and then shoving them into a simplistic plot (that is to say, simplistic even by Rambo standards)", and rated the film 1.5 out of 5. Grading the film a D+ for IndieWire, Eric Kohn said Stallone as a co-writer "does a decent job at generating empathy for Rambo through furtive gestures, but Last Blood goes overboard to prove that he's tried to be a better man". While many called the plot of Last Blood derivative of Taken, web-based critic James Berardinelli called it "a Death Wish variant with a few callbacks to the trap-building of First Blood".
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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