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The Mother: Jennifer Lopez Shines as the Last Movie Star

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The movie star, that captivating and enigmatic creature whose irresistible charm captivates everyone, is gradually becoming a rare species. In this context, Jennifer Lopez, an unrivaled movie star, stands out as the onscreen equivalent of a majestic snow leopard. Lopez possesses the ability to effortlessly carry an entire film on her own, and her latest endeavor, “The Mother,” is fortunate to have her.

That is not to suggest that the newest film from director Niki Caro (“Mulan”) and the screenwriting team led by “Underground” creator Misha Green would falter without its star. Similar to most Netflix movies, “The Mother” would suffice as background entertainment while tidying up the living room or attending to emails on your phone. The spy-movie premise is generic enough to follow while multitasking, and the motivations of the villains are only as specific as required by the plot, which is to say, not very specific at all.

“The Mother” was previewed for critics in theaters, where the immersive setting accentuates the formulaic elements of the storyline. Several peculiar stylistic choices also catch the eye in this format: recurring wide-angle shots with blurred edges, and jumpy edits that seemingly compensate for a lack of coverage on set.

However, the big screen also provides a larger canvas to showcase the film’s picturesque locations, such as the wild Tlingit Bay in Alaska, the sweltering streets of Havana, and even Cincinnati, Ohio (because every spy needs a hiding place). More significantly, it offers ample space to showcase Lopez’s face.

Throughout “The Mother,” that billion-dollar countenance primarily reflects a resolute determination. The film begins with an unnamed FBI informant (Lopez) and her handler Cruise (Omari Hardwick) narrowly escaping a bloody attack on an FBI safe house in suburban Indiana. Following the incident, the informant becomes known as The Mother, as she gives birth to a baby girl while recovering from her injuries in the hospital. She faces two choices: escape with her infant and live a life on the run or relinquish her parental rights, allowing her daughter to have a normal life. She opts for the latter.

Nevertheless, she never abandons her emotional commitment. From the sidelines, she watches with anticipation, waiting for the day when her past will shape young Zoe’s (Lucy Paez) life. And indeed, shortly after Zoe’s 12th birthday, The Mother’s friend and confidant, Jons (Paul Raci), arrives at her isolated Alaskan lakeside cabin with a message: Zoe is in danger. It’s time to act.

Similar to her celebrated performance as a pole dancer in “Hustlers,” a significant part of the excitement in “The Mother” lies in observing Lopez in motion. She skillfully wields a knife in hand-to-hand combat, gracefully leaps across car rooftops during an urban foot chase, and even the subtle act of loading and cocking a sniper rifle while lying prone on a rooftop becomes exhilarating when she does it. Lopez seamlessly translates her background as a dancer into gritty action choreography, displaying the skill of a seasoned professional.

The film undergoes a shift in tone halfway through as Zoe and her mother retreat to Mom’s cabin for a unique bonding experience and a wilderness survival course, ultimately leading to a fiery action-packed climax. At 115 minutes, “The Mother” may be considered somewhat lengthy, yet it is challenging to pinpoint which scenes, in particular, could have been trimmed. In its quieter moments, both Lopez and her young co-star Paez deliver compelling performances as the gruff mentor and the petulant student.

If anything, the film could have benefited from more of these authentic and tangible moments, which stand in stark contrast to the one-dimensional antagonists

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portrayed by Joseph Fiennes and Gael Garcia Bernal. We are informed that either of these men could be Zoe’s father, and it is their obsession with The Mother that propels the rest of the narrative. They are not alone in their infatuation.

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