The Mean Girls star has endured a turbulent few years fraught with legal battles and numerous stints in prison and rehab, and she hasn't appeared on the big screen since her small role in 2009 movie Machete.
Lohan dabbled in a number of other projects, launching a clothing line and a self-tan product, and enjoying a brief tenure as an artistic adviser for French fashion house Emanuel Ungaro, and she has now revealed she considered leaving acting behind for good.
During a question-and-answer session at a Los Angeles screening of her new TV project, Liz & Dick, Lohan told reporters, "There was a point when it got really lonely. I was being hounded a lot. I didn't know what do... I didn't want to listen to anyone. I was very stubborn...
"(I asked myself) 'Do I do this or do I take the easy way out and just stop?' But I love acting... It's unfortunate that people began to know me as a celebrity rather than as an actress. I can hope to gain that respect back only through my work."
Lohan is now preparing for a career comeback with her role as Dame Elizabeth Taylor in small screen biopic Liz & Dick, as well as a role in the next Scary Movie installment.
Lifetime's original biopic of Hollywood icon Elizabeth Taylor — featuring controversial young actress/celebrity headlines mainstay Lindsay Lohan — is fast approaching, with a release date set for the end of this month. Lohan has thus far showed off quite the polarizing portrayal of Taylor in the previously released trailers for the Liz & Dick. She has exhibited Taylor's tumultuous marriage to husband Richard Burton (played in the Lifetime movie by Grant Bowler), as well as the pair's complicated relationship with the spotlight. These new images from the forthcoming project offer an even wider array of what we'll be seeing Lohan embody: Taylor's memorable role in the 1963 film Cleopatra, the actress' high-society lifestyle, and some of the sweeter moments between her and Bowler.
Check out these new images, and catch the film on Nov. 25 on Lifetime.
[Photo Credit: Lifetime(4)]
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Patricia Krentcil — most widely known for fifteen minutes as "Tanning Mom"— received a lot of negative attention back in April after she was accused of taking her 5-year-old daughter into a tanning bed with her. But who is this mysterious woman? Other than being able to safely assume that she watches a little too much of Jersey Shore, we actually know very little about her and her pre-tanning life...until now that is.
[Image: Splash News]
It turns out that Krentcil used to be an aspiring model. Several photos have recently surfaced of the "Not-As-Tan Mom" that were taken at the time she was applying to a modeling agency around 15 years ago. And not only was Krentcil a lot less crispy back then, but she was actually quite striking.
So being the entertainment junkies that we are, this got us thinking about who would mostly likely play Tanning Mom if a movie was ever to be released about her. And given all the press this woman has been able to garner over the past few months, it seems completely possible. So listen up Lifetime higher-ups — here's how the casting should go:
If there's one woman who would be ballsy enough to take on such a controversial role, it would be Handler. This chick doesn't mind going against the grain in every aspect of life, so she'd be a perfect fit for the part. For something like this, you can never have too much sass.
Perhaps it takes a horrible mother to understand a horrible mother? Gosselin could definitely put Tanning Mom's character through her paces eight times over. Plus, it's not like she's completely unfamiliar with the whole tanning process herself. She's not that extreme, of course, but I'm sure she'd be able to carry out a pretty convincing portrayal.
Aside from the fact that Kristen Wiig is simply hilarious, she's also amazingly talented. Her Saturday Night Live impressions are uncanny in their similarities. She's even played Tanning Mom in one of her skits, so Wiig already has a pre-casting advantage over the others. Not to mention the fact that she'd be a huge draw for the film's demographic. Let's make this happen, folks!
Alright, for this one we'd need to jump in our magical time machine and journey back in time for her Baywatch Babe days, but you have to admit Anderson would be a great pick for the role. Their assets appear to be quite similar.
Blonde: check. Incredible Physique: check. Attitude: check, check. Though she'd probably find a role like this below her, Jones has many of the physical qualities directors would look for in Krentcil's lookalike. Plus, if anyone knows anything about being a terrible mother, it's Betty Draper.
Over the past few weeks, Lohan has proven that despite her troubled past she's actually quite the acting chameleon. Her transformation into the iconic Elizabeth Taylor for the Lifetime biopic Liz & Dick, demonstrates just how versatile she can be. Plus, the network probably already has her on contract, so it'd be an easy transition.
Tanning Mom: The Movie
Lindsay Lohan and Grant Bowler Still Look a Lot Like Liz & Dick — PICS
I came to Friends With Benefits with the hope that writer-director Will Gluck would take aim at the romantic comedy with the same piquant mischievous zeal he displayed in 2010’s Easy A a film that earned him comparisons to such hallowed figures as Alexander Payne and John Hughes. And he does—for a while at least. The film springs from the gate with a fun revisionist élan promising to lay waste to the stale conventions that have long characterized the genre. A promise that in the end is sadly unfulfilled.
Attractive twentysomethings Dylan (Justin Timberlake) and Jamie (Mila Kunis) first meet as business associates—he’s a savvy web designer she’s a spunky headhunter who lures him to New York to work for GQ. Both happen to be recovering from nasty breakups (he was dumped by a Jon Mayer obsessive played by Emma Stone; her by a cloying slacker played by Andy Samberg) and they bond over their shared exasperation with relationships and romance.
One night wallowing in their mutual malaise over beer and pizza and an insipid rom-com (a fictitious film-within-a-film featuring uncredited Jason Segel and Rashida Jones) they hit on an idea: Why not use each other to sate our primal urges without all the hassles and complications that committed relationships entail? (That this is the first time either has pondered cohabitation strikes me as a bit disingenuous: Both rank among the upper-percentile of desirable people; surely the notion might have at least briefly occurred to them before?)
The pack is formalized by an oath sworn over a iPad bible app (the film is gratuitously tech-chic to the point of employing flash mobs as plot devices) and consummated in one of the film’s funniest scenes. Freed from any pretensions of romance and from any fears of embarrassment or rejection they approach the act from the perspective of two people seeking only to maximize their enjoyment. (He encourages her to look at it as a game of tennis.) They calmly recite their preferences idiosyncrasies and deal-breakers like agents negotiating a contract; during the deed they critique each others’ performance with utter candor offering helpful guidance when it’s called for. (She shows particular disdain for a technique called “The Tornado.”)
They’re hanging out they’re having sex; the only thing missing obviously is intimacy. It’s inevitable—at least in the peculiar moral universe inhabited by studio rom-coms—that one or both of them will come to crave it. And that’s when complications arise both for Dylan and Jamie and for the filmmakers. Faced with two roads Gluck opts to take the more-traveled one and Friends With Benefits gradually—and disappointingly—yields to convention affirming many of the rom-com tropes and clichés it initially seemed intent on skewering.
That the film is funny—wry and quick and (at least initially) irreverent—helps alleviate the let-down of its second-half surrender to formula. Kunis and Timberlake make for able verbal sparring partners their chemistry is real and their interplay natural and unforced. Accustomed to smaller roles and guest-hosting spots on SNL Timberlake acquits himself nicely in Friends With Benefits even if he at times appears outmatched by Kunis. I’m not quite prepared to forgive him for The Love Guru but I’m getting there.
Set in 1984 Josey Aimes (Charlize Theron) returns to her ice-cold hometown in Northern Minnesota after fleeing from an abusive husband. In order to care for her two young kids she needs a job--and for most of the townsfolk including her distant dad (Richard Jenkins) that means working in the local iron mines. Problem is not too many women work there and those who do are subjected to continual harassment by their male coworkers. Josey lands a job anyway and starts to get her fair share of sexual innuendos. One day her former high-school sweetheart also a mine employee takes it way too far with her. Although met with strong resistance of course a lawsuit ensues that results in a groundbreaking decision for women’s rights in the workplace. Ah what an Oscar can do for a career. It wasn't that long ago Theron wouldn’t even have been considered for such a dramatic role. But with deserved recognition she gets to strut her stuff in North Country. She's no Monster but she's no supermodel either--and while it's impossible to erase her beauty its glare has been reduced. A second-consecutive Oscar win? Maybe not but a nomination wouldn't be out of the place. Co-star Frances McDormand might also be in line for a nod of her own. She plays Glory a woman who gets Josey the job and encourages her to fight the good fight something that seems visceral for McDormand. Woody Harrelson is also solid as Josey's attorney though his Midwest-stoner drawl gets in the way of the northern accent he's supposed to be selling. New Zealand director Niki Caro mightily impressed us with Whale Rider a poignant mixture of grief and vigor and with North Country she continues to impress. As more an observer than anything else Caro lets the true story tell itself--of what happened in this small town with its frigid denizens and sexist behavior. And the film is definitely a period piece á la Norma Rae in that it's from a specific period albeit a recent one and pertains to a specific region. But it's kind of slow going. There’s a lot of weeping and dramatic speeches. Still Caro makes up for it by including several Bob Dylan songs who rarely grants the use of his songs in films. Perhaps he felt a certain a kinship to this film since it takes place in the desolate cold Northern Minnesota where he comes from--and so resents.
The heart of Whale Rider centers on an ancient legend of the Maori (indigenous people of New Zealand) who believe their ancestry dates back a thousand years to a warrior named Paikea. Legend has it Paikea escaped death after his canoe capsized by riding to shore on the back of a whale and since then his male heirs have each assumed the responsibilities as Maori chief. That is until now. Set in the present Whale Rider tells the story of Pai (Keisha Castle-Hughes) a feisty 12-year-old girl who lives in the fishing village of Whangara off the east coast of New Zealand with her stern but loving grandfather Koro (Rawiri Paratene) who is a direct descendent of Paikea and her grandmother the kindly Nanny Flowers (Vicky Haughton). Although granddaughter and grandfather have a special bond there is a sadness in Koro. He mourns the loss of his grandson Pai's twin brother who died in childbirth along with Pai's mother. Koro also has a hard time accepting the fact his own son Pai's father Porourangi (Cliff Curtis) has not chosen to follow his destiny but instead has fled Whangara in grief. Though he loves his granddaughter dearly a thousand years of tradition is hard to buck in this unyielding man's eyes; Koro refuses to see Pai as a rightful Maori chief and instead begins to look for an outside heir to the throne by training local village boys. But Pai isn't your ordinary blossoming adolescent girl; she embodies many of the qualities of a great Maori warrior--courage determination wisdom and an irrepressible spirit. Against all odds including the hurtful rejection from her beloved grandfather she finds a way to prove herself as the true heir to her rich ancestry--and your own spirit will soar as she succeeds.
The mostly Maori cast brings truthfulness to their words and actions making the Maori culture come alive. Yet the film solely belongs to Castle-Hughes who is so amazingly poised and beautiful it's hard to believe she's only 11 years old. She simply radiates as Pai showing a depth of emotion rarely seen in a first-time actress especially one so young--she joins a short list that includes Oscar winners Tatum O'Neal (Paper Moon) and Anna Paquin (The Piano). Every scathing word and scornful reproach Pai receives from Koro registers clearly on this little girl's face and it truly almost breaks your heart to watch her. Still it's tremendous strength that shines through in Castle-Hughes' performance. In one particularly heart-wrenching scene Pai gives a speech in the wharenui or the town's sacred meeting house dedicating it to her grandfather who has not shown up. Despite the pain her grandfather has caused her Pai bravely gulps down tears and recounts her family's history. By the end you're in a puddle of your own tears. As the young actress' counterpart the elderly Paratene (Rapa Nui)--one of New Zealand's most prominent actors--also turns in a finely tuned performance as Koro. You really want to hate this man but Paratene makes you understand Koro's grief--and how attached he is to his own deep-seated roots. Koro believes there isn't any other way to be but when the old man finally sees how wrong he has been how Pai is the only true heir to the throne Paratene plays the moment brilliantly as you see his steely resolve dissolve into painful realization.
Having won the Audience Award at the Sundance Film Festival this year Whale Rider has been steadily gaining momentum and has made already made over $2 million playing in only 163 theaters nationwide. Based on a book by Witi Ihimaera who has tribal links to the Whangara community New Zealand writer/director Niki Caro--who is not Maori--had to treat Whale Rider with kid gloves in order to preserve the great Maori traditions while at the same time craft an entertaining film. In adapting the book Caro delicately handles the legend of Paikea but centers the film on the relationship between Pai and Koro giving Whale Rider an emotional core and contemporary feel. Not since the gritty and powerful 1994 film Once Were Warriors which gave audiences their first glimpse inside a modern-day Maori family has a story about the indigenous people of New Zealand been so vividly played out. Caro also had to convince the elders in the Whangara community she was right for the job and that using their town and their sacred Maori grounds was the only way to effectively tell this story. Luckily they agreed. Caro captures the spirit of this rocky and magnificent coastline and its people showing how the rugged surroundings influenced this once-great warrior nation's customs and rituals. In the final scene the men perform a traditional warrior dance while the women chant and the community as a whole heaves off a long Maori boat symbolizing the rebirth of another rangatiratanga--or leader. It's a fitting end to a truly inspiring film.