Following supporting work in pictures like My Family and Money Train, Jennifer Lopez broke out into leading roles in 1997 with back-to-back hits Selena and Anaconda. Music biography Selena racked up $35.3 million or the equivalent of around $60 million adjusted for ticket price inflation, while creature feature Anaconda slithered to $65.9 million or around $110 million adjusted.
Her next two movies were with esteemed directors: Oliver Stone's U-Turn, which was a bust ($6.7 million), and Steven Soderbergh's Out of Sight. The latter, a romantic crime comedy opposite George Clooney, was her most hyped release yet, but sparks didn't fly at the box office. It debuted to $12 million in the summer of 1998 but faded relatively quickly, mustering $37.6 million by the end of its run (though that was comparable to over $60 million today).
Following Out of Sight, Ms. Lopez focused mostly on the two genres that actresses tend to find the most success in: romantic comedies and thrillers. She had back-to-back hits with the thriller The Cell ($61.3 million / $88 million adjusted) in 2000 and the romantic comedy The Wedding Planner ($60.4 million / $83 million adjusted) in 2001. With The Wedding Planner, she famously scored both the No. 1 movie and the No. 1-selling album (J.Lo) in the same week. Wedding Planner's first weekend was $13.5 million at 2,785 sites (or over $18 million adjusted).
Thrillers Angel Eyes ($24.2 million) and Enough ($40 million) followed but were slight steps backward, and, at the end of 2002, Ms. Lopez starred in the highest-grossing movie of her career: Maid in Manhattan. The romantic comedy opened to $18.7 million (around $25 million adjusted) and went on to make $94 million (or the equivalent of over $120 million adjusted).
Her very next role, though, would be the nadir of her career. She strayed from her formula and revisited Out of Sight's tough-sell romantic crime comedy sub-genre with Gigli, a movie that was also overshadowed by her ubiquitous relationship with co-star Ben Affleck. This resulted in a catastrophic failure, grossing just $6.1 million in its entire brief run in 2003.
Ms. Lopez did rebound with Shall We Dance ($57.9 million) in 2004 and her last major release, Monster-in-Law in 2005. Monster-in-Law's marketing played up her Gigli-and-tabloid tarnished image to shrewd effect, and the movie opened to $23.1 million ($28 million adjusted) and closed out with $82.9 million (or the equivalent of around $100 million adjusted).
All told, the movies that Jennifer Lopez has appeared in have grossed $720 million or the equivalent of over $1 billion adjusted for ticket price inflation. With The Back-Up Plan, she's back in her comfort genre, so the picture may prove a good measure of her current bankability.
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