Latin superstar Romeo Santos dominated the 2015 Premios Lo Nuestro on Thursday night (19Feb15) by winning six trophies at the music prizegiving. Santos was feted with the top prize of Artist of the Year, as well as Contemporary Artist of the Year, Tropical Artist of the Year, Tropical Album of the Year (Formula, Vol. 2), and Tropical Song of the Year (Indecent Proposal).
The New York native shared the Tropical Collaboration of the Year prize for his duet, Loco, with Enrique Iglesias.
The hitmaker went into the fan-voted awards with 10 nominations, and went home with half, including Pop Male Artist of the Year, Pop Album of the Year (Sex & Love) and Video of the Year and Pop Song of the Year for Bailando.
Colombian reggaeton singer J Balvin also had a big night with four wins, including Urban Artist of the Year, Urban Album of the Year (La Familia), and Urban Song and Collaboration of the Year for 6AM, featuring Farruko.
Other winners included Shakira (Female Artist of the Year), Marc Anthony (Salsa Artist of the Year), J Balvin (Urban Artist of the Year), Camila (Pop Duo or Group of the Year), and late singer Jenni Rivera, whose Regional Mexican Female Artist of the Year prize was accepted by her daughter and first-time nominee Chiquis Rivera, who thanked her mum's fans for keeping the singer's legacy alive.
The Excellence Award was handed to Guatemalan singer-songwriter Ricardo Arjona, while beloved comedian and TV star Chespirito, who died last November (14), was given a special video tribute.
Meanwhile, the audience at Miami, Florida's American Airlines arena was treated to performances by hometown rapper Pitbull, Juanes, Marco Antonio Solis and Camila, Thalia and Becky G, Ricky Martin, Prince Royce, and Mana, who performed their hit single Mi Verdad with Shakira, who appeared via pre-taped video footage.
Latin singer/actress Yolandita Monge is mourning the death of her husband Carlos Mamery after he reportedly suffered a massive heart attack on Tuesday (02Dec14). The Puerto Rican producer and music executive, nicknamed Topy, was just 54.
The son of radio personality Gilbert Mamery, he began working in broadcasting at the age of 15.
He went on to forge a career as a talent manager, counting artists including salsa star Jerry Rivera, actor Jorge Abello and his wife among his clients.
Mamery served as a judge on Idol Puerto Rico, the local version of hit reality TV show American Idol.
He died just weeks before his 25th wedding anniversary. He and Monge wed on New Year's Eve in 1989.
Paying tribute to Mamery, Puerto Rican singer Olga Tanon tweets, "Surprised, upset with the sudden death of Topy Mamery", while Venezuelan star Ricardo Montaner adds, "I've lost a brother."
A decade-long gap between sequels could leave a franchise stale but in the case of Men in Black 3 it's the launch pad for an unexpectedly great blockbuster. The kooky antics of Agent J (Will Smith) and Agent K (Tommy Lee Jones) don't stray far from their 1997 and 2002 adventures but without a bombardment of follow-ups to keep the series in mind the wonderfully weird sensibilities of Men in Black feel fresh Smith's natural charisma once again on full display. Barry Sonnenfeld returns for the threequel another space alien romp with a time travel twist — which turns out to be Pandora's Box for the director's deranged imagination.
As time passed in the real world so did it for the timeline in the world of Men in Black. Picking up ten years after MIB 2 J and K are continuing to protect the Earth from alien threats and enforce the law on those who live incognito. While dealing with their own personal issues — K is at his all-time crabbiest for seemingly no reason — the suited duo encounter an old enemy Boris the Animal (Jemaine Clement) a prickly assassin seeking revenge on K who blew his arm off back in the '60s. Their street fight is more of a warning; Boris' real plan is to head back in time to save his arm and kill off K. He's successful prompting J to take his own leap through the time-space continuum — and team up with a younger K (Josh Brolin) to put an end to Boris plans for world domination.
Men in Black 3 is the Will Smith show. Splitting his time between the brick personalities of Jones and Brolin's K Smith struts his stuff with all the fast-talking comedic style that made him a star in yesteryears. In present day he's still the laid back normal guy in a world of oddities — J raises an eyebrow as new head honcho O (Emma Thompson) delivers a eulogy in a screeching alien tongue but coming up with real world explanations for flying saucer crashes comes a little easier. But back in 1969 he's an even bigger fish out water. Surprisingly director Barry Sonnenfeld and writer Etan Cohen dabble in the inherent issues that would spring up if a black gentlemen decked out in a slick suit paraded around New York in the late '60s. A star of Smith's caliber may stray away from that type of racy humor but the hook of Men in Black 3 is the actor's readiness for anything. He turns J's jokey anachronisms into genuine laughs and doesn't mind letting the special effect artists stretch him into an unrecognizable Twizzler for the movie's epic time jump sequence.
Unlike other summer blockbusters Men in Black 3 is light on the action Sonnenfeld utilizing his effects budget and dazzling creature work (by the legendary Rick Baker) to push the comedy forward. J's fight with an oversized extraterrestrial fish won't keep you on the edge of your seat but his slapstick escape and the marine animal's eventual demise are genuinely amusing. Sonnenfeld carries over the twisted sensibilities he displayed in small screen work like Pushing Daisies favoring bizarre banter and elaborating on the kookiness of the alien underworld than battle scenes. MIB3's chase scene is passable but the movie in its prime when Smith is sparring with Brolin and newcomer Michael Stuhlbarg who steals the show as a being capable of seeing the future. His twitchy character keeps Smith and the audience on their toes.
Men in Black 3 digs up nostalgia I wasn't aware I had. Smith's the golden boy of summer and even with modern ingenuity keeping it fresh — Sonnenfeld uses the mandatory 3D to full and fun effect — there's an element to the film that feels plucked from another era. The movie is economical and slight with plenty of lapses in logic that will provoke head scratching on the walk out of the theater but it's also perfectly executed. After ten years of cinematic neutralizing the folks behind Men in Black haven't forgotten what made the first movie work so well. After al these years Smith continues to make the goofy plot wild spectacle and crazed alien antics look good.
The God of Legion secular Hollywood’s latest Biblically-inspired action flick is old-school an angry spiteful Almighty with a penchant for Old Testament theatrics. Fed up with humanity’s decadent warmongering ways He’s decided to pull the plug on the whole crazy experiment and start over from scratch.
Fortunately for us the God of Legion is also a rather lazy fellow. Instead of doing the apocalyptic work himself and wiping us out with a giant flood which worked perfectly well last time He opts to delegate the task to His army of angels — a questionable strategy that starts to fall apart when the archangel charged with leading the planned extermination Michael (Paul Bettany) refuses to comply.
Michael who unlike his boss still harbors affection for our sorry species abandons his post and descends to earth where inside the swollen belly of Charlie (Adrianne Palicki) an unwed mother-to-be working as a waitress in an out-of-the-way diner sits humanity’s lone hope for survival. Why is this particular baby so important? Is it the one destined to lead us to victory over Skynet? Heaven knows — Legion reveals little details its script devoid of actual scripture. What is clear is that God’s celestial hitmen want the kid whacked before it’s born.
But Michael won’t let humanity fall without a fight. Armed with a Waco-sized arsenal of assault weapons he hunkers down with the diner’s patrons a largely superfluous collection of thinly-sketched caricatures from various demographic groups led by Dennis Quaid as the diner’s grizzled owner Tyrese Gibson as a hip-hop hustler and Lucas Black as a simple-minded country boy.
Together they mount a heroic final stand against hordes of angels who’ve taken possession of “weak-willed” humans turning kindly old grandmas and mild-mannered ice cream vendors into snarling ravenous foul-mouthed beasts. They descend upon the ramshackle diner in a series of full-frontal assaults commanded by the archangel Gabriel (Kevin Durand) the George Pickett of End of Days generals.
Beneath its superficial religious facade Legion is really just a run-of-the-mill zombie flick a Biblical I Am Legend. Bettany an actor accustomed to smaller dramatic roles in films like A Beautiful Mind and The Da Vinci Code looks perfectly at ease in his first major action role wielding machine guns and bowie knives with equal aplomb. Conversely first-time director Scott Stewart a former visual effects artist does little to prove himself worthy of such a promotion serving up some impressive CGI work but not much else worthy of note.