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    Encore tonight at Toyota Center

    Lots of Drama and Light as Maná rekindles love affair with Houston audience

    Phuong-Thi Huynh
    Jul 3, 2011 | 12:15 pm
    Maná

    Lights. Drama. Maná.

    White clouds billowed against a gauzy silk screen as Beethoven’s Fifth Symphony signaled the dramatic production that was about to unfold before the sold-out Saturday night crowd.

    Seconds later, behind a see-through veil, lights illuminated the lion mane of Maná’s frontman Fher Olvera. Screams pierced through the darkness before silence engulfed the Toyota Center. On cue, the best-selling Latin rock band of all time launched into a series of songs that left the multigenerational, mostly Spanish-speaking audience panting.

    Nearby a four-year-old girl jumped up and down as tears welled in her grandmother’s eyes. Like a grand novella, full of climaxes, the two-hour, pitch-perfect performance by Maná mirrored their widely successful eighth studio album, Drama y Luz.

    “Look at him! Look at him,” cried longtime fan Yolanda Delalosa about Maná's frontman Fher Olvera. “He’s 50-something and he is still looking bad ass. His voice is still powerful.”

    Drama and Light placed the band on top of Billboard’s Top Latin Albums chart for nine weeks and counting. Lights and drama — literally — framed the evening’s performance, starting with an on-screen light display that accompanied “Lluvia al Corazon,” Maná’s current hit mixing emotive lyrics with glorious riffs by guitarist Sergio Vallin.

    Olvera’s presence commanded the stage with his raspy vocal chords reminiscent of Sting but with a welcome serrated edge. “Look at him! Look at him,” cried longtime fan Yolanda Delalosa. “He’s 50-something and he is still looking bad ass. His voice is still powerful.”

    Delalosa has seen Maná in concert four times. The last being nearly five years ago in Houston. Maná returns as popular as ever, with a second show on Sunday that was added after the Saturday evening concert sold out. The group kicked off the 2011 tour June 16 in San Juan, Puerto Rico, followed by four sold-out performances in Los Angeles.

    With 25 million records sold worldwide, Maná has the ability to evolve while remaining faithful to its grass-root Spanish rock sound, not an easy task with followers fanned across 40 countries and the pressure to Americanize its Latin sounds. But rather than following in the footsteps of Shakira, Ricky Martin and Enrique Iglesias, Maná has yet to record an English album. So while still relatively unknown in most U.S. markets, the black-clad foursome continues their two-decade hold as Titans in Spanish rock history.

    “In the Latin world, no one comes even close to them right now,” says fan Juan Cruz. “They are Maná. There’s nothing left to say.”

    Perhaps, not. Maná is a Polynesian word for supernatural power, and through their music, the band conveys important socio-political messages. This was apparent in their visually powerfully rendition of “LatinoAmerica,” a rallying chant for unity among Latinos.

    Throughout the arena, fans showed their pride by waving Mexican flags. At times, Olvera rested his voice by letting the audience finish the chorus. Few lyrics went unsung by the energetic crowd — from the classic “Oye Mi Amor” to the newest ballad, “Vuela Libre Paloma,” a poignant homage from Olvera, who recently lost his mother to cancer.

    Consummate performers, Maná satisfied their fan base by playing a montage of hits. But the spotlight shined on muscular half-Cuban, half-Colombian, U.S. born Alex Gonzales whose pounding drum beats rolled across the audience as a podium lifted him high above the audience for a 10-minute solo, filled with gleeful playfulness and drama.

    The highlight came when balladeer Olvera ushered a female fan on stage and serenaded her with the 1994 ballad hit, “Vivir Sin Aire.” But most telling as to why Maná remains entrenched in the hearts of fans was when a male devotee ran on stage, past security.

    As burly guards scrambled to grab the man, Olvera waved them off and placed his right arm protectively around the interloper. The crowds cheered and clapped. And Maná continued the love affair with fans.

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    Movie Review

    Ana de Armas dances macabre in John Wick spinoff Ballerina

    Alex Bentley
    Jun 5, 2025 | 3:45 pm
    Ana de Armas in Ballerina
    Photo courtesy of Lionsgate
    Ana de Armas in Ballerina.

    The John Wickfranchise has been successful due to two things: The hyper-violence inflicted by its protagonist, and its star, Keanu Reeves, who has used a bare minimum of words to create a great antihero. Trying to capitalize on its popularity, Lionsgate — the studio behind the franchise — has made Ballerina, a spin-off focusing on a character inspired by another minor character from John Wick: Chapter 3 - Parabellum.



    That convoluted set-up is the first of a variety of missteps for the film. An opening scene introduces the audience to a young Eve (Victoria Comte), who gets taken in by a criminal group known as the Ruska Roma after her father is killed. The bulk of the film takes place 12 years later when a now-adult Eve (Ana de Armas) is finishing her training as a ballerina/assassin-for-hire, led by The Director (Anjelica Huston).

    Hungry to prove her worth, Eve starts going out on various jobs. One of those jobs puts her in the orbit of the group responsible for her father’s death, and she dedicates herself toward finding the leader known as The Chancellor (Gabriel Byrne) and exacting revenge. Oh, and for funsies, the film — set between John Wick 3 and 4 — also brings in Wick himself to juice the action.

    Directed by Len Wiseman and written by Shay Hatten (who’s written the last two John Wick films), the film is at its best when the filmmakers are going all-in on the action. Like all films in the series, the actual body count soon becomes negligible, with the film more interested in how inventively Eve can slaughter everyone in her path. And there are some creative methods employed, including ice skates, hatchets, and — most memorably — a flamethrower.

    What Wiseman and Hatten are not able to do, however, is make us care about Eve herself. The main John Wick films got increasingly complicated, but they were tolerable because of how compelling a character Wick was. There’s no such connection with Eve, and for all her personal tragedy, she might as well be a faceless person. A lack of explanation as to why Ruska Roma is training women as ballerinas — you know, the title of the movie — only underscores how little the filmmakers cared about creating a good story.

    Consequently, despite plenty of gory kills, the film is actually quite boring to watch play out. The film goes through the paces of having Eve take on all-comers, but the end result is never in doubt and most of the action runs together. The inclusion of Wick into the story feels like an afterthought, whether it actually was or not. It also has the unfortunate effect of comparing a character fans know and love to one who hasn’t been given a chance to establish herself.

    Although her character as a whole is lacking, De Armas shows that she can easily handle the physical aspects of the role. The 37-year-old actor is oddly asked to play a 24-year-old (or so), but she mixes it up with the best of them. Byrne makes for a so-so new villain, while Reeves, Huston, Ian McShane, and Lance Reddick (making his final film appearance after passing away in 2023) all reprise their roles well.

    Ballerina has the look and feel of the four previous John Wick films, but it fails to be as compelling of an action film as any of them. True, it has just as much violence as fans have come to expect from the series, but its lead character is one that never reaches the level of John Wick, and it doesn’t seem like the filmmakers even tried to accomplish that goal.

    ---

    Ballerina opens in theaters on June 6.

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