She was just a Fly Girl there. Her only role of note was as “the girl” in Money Train with her main purpose being to assure the audience that Wesley Snipes and Woody Harrelson were not the least bit homosexual, no sirree, not even a little bit. Her main asset at the time was enough back-side to keep Sir Mix-A-Lot happy for years on end. Without the right role, she would have been quickly forgotten, never becoming the celebrity she is today. Then, a director cast her in a star-making role as recently assassinated Latin sensation Selena. From that moment on, Jennifer Lopez was on a collision course with a destiny. So, if you are the type of person who believes in pinpointing causality, Gigli is all Gregory Nava’s fault.
Perhaps seeking to find redemption for past transgression or, more likely, attempting to punish movie-goers of the Americas yet again, Nava has once again cast Lopez in a movie. This time, the project is Bordertown, and the reunited duo has added Puss N Boots himself, Antonio Banderas for good measure. The plot is a dramatic recreation of the infamous murders of young women occuring in Ciudad Juárez since 1993. Lopez portrays a Chicago reporter given the assignment of researching the mysteriously high mortality rate of young women working in Mexico/America bordertown factories. Lopez comes to realizes that the local government, particularly the law enforcement branch, is complicit in turning a blind eye to the treatment of these ladies. So, she attempts to blow the whistle on these nefarious operations. Conveniently enough, the man running the local paper in the area is an ex-boyfriend of hers, and he helps her get the dirt on no-good-niks. (David Mumpower/BOP)
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