Jennifer Lopez admitted was Surprised by Ben Affleck | Why Marry Me Is a fantastic Proposal

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Jennifer Lopez admitted was Surprised by Ben Affleck | Why Marry Me Is a fantastic Proposal Jennifer Lopez | Ben Affleck | Marry Me Lopez admitted Affleck had something to do with it. A few years after Jennifer Lopez divorced Ben Affleck, rumors began that Jennifer Lopez was having an affair with Ben. Jennifer Lopez fans wished the couple would be together again. Finally. Jennifer Lopez admitted that in "Marry Me", romances were formed between her and Ben. "I don't think anybody was more surprised than us," Lopez said of her rekindled relationship with Ben Affleck Jennifer Lopez says she wasn't expecting to rekindle her romance Ben Affleck. The actress and singer appeared on The Ellen DeGeneres Show on Wednesday to promote her new movie Marry Me and spoke about her relationship with Affleck, 49. "Would you ever have imagined that it comes full circle and ends up like this?" host Ellen DeGeneres asked Lopez, 52. "I don't think anybody was more surprised than us," she said, laughing. "No, you never could imagine something like that could happen. It's a beautiful thing." DeGeneres also showed off Lopez's cover of PEOPLE for the Love issue. In this week's cover story, Lopez told PEOPLE, "I've never been better. It's just that we're all in a very beautiful moment. Lopez admitted Affleck had something to do with it. "I feel so lucky and happy and proud to be with him" she said. "It's a beautiful love story that we got a second chance." In her new movie Marry Me, Lopez plays a pop star who marries a stranger (Owen Wilson) after her fiancé (Maluma) is caught cheating. The role was "really fun and also cathartic," said Lopez, who coproduced the film and enjoyed "revealing a little something of what it's like living in the public eye." Lopez also performs the soundtrack, which features original songs by her and Maluma. "The songs tell the story just as much," she says. Marry Me Is an Overly Decent Proposal There’s not much comedy in the new romantic comedy Marry Me (in theaters and on Peacock, February 11). There probably once was, given that some experienced comedy writers (Tami Sagher and Harper Dill) have screenplay credits on the film. But the finished version is merely a bland and agreeable love story, one supposedly about the perils of fame, but more enamored of the glow of attention than frightened by it. Perhaps that has to do with the film’s star, Jennifer Lopez, who recorded a companion album as extra marketing incentive. The movie, too, is about a global music star (though Lopez’s character, Kat Valdez, has not ventured into film acting like Lopez has). Lopez has a lot at stake in Marry Me, which may explain why her character is so carefully managed: she’s never a diva, she’s almost always kind, and most of the wrong things in the movie happen to her, rather than because of her. Compare that to 2020’s relatively acidic The High Note, in which Tracee Ellis Ross shrewdly plays a music legend who is selfish and makes ridiculous demands but, in the film’s sharp portraiture, remains a decent person at root. Marry Me offers Lopez no such acting challenge; there is none of the arresting complexity that she brought to 2019’s Hustlers, probably her best performance since Out of Sight. I had hoped, perhaps naively, that the wave of accolades that followed Hustlers might push Lopez further into risk—even in a glossy romantic comedy. To be fair, Marry Me was filming just as Hustlers was being released, so maybe we’ll have to wait for the next Lopez project—an action comedy called Shotgun Wedding—to see if she’s a changed woman. Marry Me’s place on the timeline does at least mean that it is a pre-pandemic project and thus there are indoor crowd scenes, a multitude of locations, and a general air of before-times indulgence—despite the film’s modest budget. Directed by Kat Coiro, the film moves at an amiable patter, following Kat (the singer, not the director) as a public wedding stunt with her music star boyfriend, Bastian (music star Maluma, looking handsome as the film’s very, very tame villain), goes awry. Live, in front of millions of people either in person or streaming along at home, Kat decides instead to select a random guy from the audience and ask for his hand in marriage. That unwitting fellow is humble Brooklyn math teacher Charlie, played with familiar shaggy charm by Owen Wilson. (I say humble, but Charlie and his daughter live in a very nicely appointed, brick-walled loft in Red Hook. Not cheap!) This premise is meant to be ridiculous, but also credible in an age of social media madness and Kanye West-esque public theatrics. The movie works hard to sell the logic, with Kat and her manager, Collin (John Bradley), extensively talking over media strategy to best mitigate embarrassment and win the fandom’s—nay, the world’s—affection. I suppose I can sort of buy, in this age of trauma narratives and other radical honesty about emotional well-being, that someone like Kat would feel comfortable essentially live-streaming her romantic catastrophe, and that the masses would eagerly lap it up. But aside from some limp monologue jokes on fake episodes of Jimmy Fallon’s Tonight Show (another Universal production; Marry Me is lousy with NBC cross-promotional synergy), Kat doesn’t really seem to suffer much blowback or scorn. Nor does she lash out as rashly as someone willing to do an enormously public wedding—and so coddled for most of her adult life—would likely be capable of. Because, again, Marry Me’s potential for edge and real social critique has been sanded down to temper the image anxieties of the star at the center. Lopez still makes for a winsome lead, a naturally bright actor who plays guarded attraction quite well. (She also looks smashing in the 60-something outfits she wears over the course of the film.) She and Wilson have an odd chemistry—it’s not exactly loins-burning desire, but it is something more than friendly. Sarah Silverman, as Charlie’s fame-obsessed colleague, tries to add some pepper where she can, but she is mostly there to be deferential to Kat, rather than to point out the wild bullshit born of Kat’s publicity-minded maneuvering. I, along with many others, have long bemoaned the death of the studio romantic comedy, so I am loath to criticize any rare occurrence of one. To its credit, Marry Me does look flashier, and feel bigger, than a lot of the tinny stuff being churned out by Netflix. And Lopez remains as welcome a screen presence as ever, even when she’s being so cautiously tended to. But the assertions made on the Marry Me press tour that the film is some kind of probing inquiry into the private pains of fame prove way overblown. This is an assiduously nice movie about an unbelievably nice industry titan who meets a nice guy and mild, and quickly forgotten, discomforts ensue. Oh, and there’s the music—including the title track, which we hear approximately 3,000 times in the film. The other songs on the companion album, also heard throughout, are all vaguely akin to “Marry Me,” just slowed down or sped up. The soundtrack is as safe and smooth as the film. A shame, when both could have been so much louder, and had us on the floor. Source people Vanity Fair