Review of Halftime (2022) by Kate Erbland for IndieWire — 09 Jun 2022

Micheli’s film is less than artful, scattered with limited talking heads (mostly Lopez’s business partners and her mother, briefly), random flashbacks, occasional archival footage, and a series of short sequences that could frame their own films (particularly quick-cut segments about Lopez’s early years, her treatment by the press, the obsession with her body, the constant tabloid attention), but none of that is the draw: it’s Lopez.