Lindsay has gone back to her roots. LITERALLY. Mean Girls fans remember her fiery red locks well. As a girl with such fair skin, it looked great on her … the blonde hair she’s worn for years? Mmmnot so much. LiLo’s hair was red at the height of her career. With the bleached blonde dye job came arrests, substance abuse, partying and becoming a punchline in general. Is going back to her original shade a harbinger of brighter things to come? Maybe not. But it does look good, no? Vote for your favorite Lohan hair color below!
In Seeking Justice , a man whose wife is assaulted and raped makes a deal with a mysterious vigilante organization that exacts revenge on his behalf but demands from him a favor to be named later. If you’re thinking that sounds like something that will turn out to be a bargain he regrets, you are correct! And if it also sounds like the kind of disposable movie you’ll not catch the title of but will happily half pay attention to on cable some day, well, you’d be right on that account too, though this film has a cast peculiarly heavy on name actors for something getting a minor release. Nicolas Cage plays the husband in question, a New Orleans teacher named Will Gerard, and January Jones (perpetually bored and disdainful) is his wife Laura. Guy Pearce is the head of the unnamed group, Harold Perrineau and Jennifer Carpenter are the couple’s friends. Roger Donaldson, of The Recruit, Species, Cocktail and others, directs this thriller, which goes from adequate to ludicrous but is only ever compelling enough to serve as audiovisual wallpaper while you’re focused on something else. Some of the film’s limpness is due to the fact that Cage plays Will in a minor weird key as opposed to one of his major ones — there are no fits of operatic oddness. At this point in his career, Cage doesn’t seem capable of playing normal, only varying degrees of strange, and having him take on the role of an everyman in over his head is a futile endeavor — he already appears much nuttier than any conspiracy posse Seeking Justice can come up with. (Even the way he jogs looks just a little off.) The one it does present is so powerful you’d think it wouldn’t need to bother with its complicated recruiting structure, which offers a daisy-chain, Strangers on a Train- type process. The man who kills Laura’s rapist is doing so as payment for the avenging of the murder of his wife three months earlier. He knows the crime that was committed by the person he’s been sent to execute, but otherwise has no connection to him. Will receives the necklace that was stolen from his wife during the attack and knows the deed is done. Six months later, the two are putting their lives back together, though Laura is still anxious about making sure the doors are locked and is learning how to shoot a gun and Will is — dramatic music queue! — receiving a call instructing him to a meeting where he’s going to have to fulfill his end of the bargain. He’s handed a letter to mail, but later is instructed to open it instead — inside, he discovers photos of a woman and her two girls he’s told to follow and observe at the zoo. The second half of his deal involves his killing someone, a man (Jason Davis) he’s told is named Leon Walczak and is a pedophile. They give him a time and place and direct him as to the best way to make it look like an accident, but he doesn’t want to do it, he’s not a murderer, he made a mistake, and so on and so on. They threaten Laura, he cries foul but finds himself there at the appointed time and place trying to warn his intended victim, which doesn’t go well. And then Leon Walczak turns out to not be as described by Simon at all, and Will tumbles headlong into trouble. Seeking Justice is set in New Orleans, and there’s something potentially interesting to be found in the idea of a vigilante organization in a city in recovery that’s struggled with more crime than it has necessarily had the resources to deal with. “I got into this because I was sick of seeing this city rot,” a character explains, saying that he’s chosen to be active where “most good citizens are just along for the ride.” But the film has nothing intelligent to say about taking the law into your own hands. The organization, which uses the code phrase “the hungry rabbit jumps” (no one snickers when saying this or makes a “crow flies at midnight” crack, so you know they’re for real), is large, so large that every other man Will runs into seems to have a connection to it; it’s also operated in cells, one of which Simon heads up. The group seems needlessly fond of signaling by having someone buy an arranged candy at an arranged location or sneak into a classroom to write a number on a whiteboard instead of just calling, but why have a mysterious organization if you’re not going to take the opportunity to act mysterious? Despite their resources and the fact that they seem to know everything before it happens, they’re stymied by Will once he learns to get in touch with his inner tough guy (and doesn’t even need a fiery skull head to do so). The vigilantes make criminals answer for what they’ve done, but who will do the same for the vigilantes? In Seeking Justice , there’s no urgency to the question. Follow Alison Willmore on Twitter . Follow Movieline on Twitter .
New Orleans rapper Mystikal was locked up for six years stemming from a sexual assault charge. Now that he’s out, he’s back to rapping after having signed a new deal with hometown label Young Money/Cash Money . The experience has been a humbling one for the former No Limit soldier. Mystikal sat down with Sirius XM’s Hip-Hop Nation to discuss life after prison, how it feels to be signed to Young Money, and how Lil Wayne and Baby saved his life. When it comes to Mystikal’s feelings of going from prison to a nice record contract, Mystikal said: “My head is still spinning right now. It’s humbling. It’s really humbling to be looking from the six years [in prison], looking up at everything. That’s at the bottom of the barrel. The only thing worse than being in prison is probably death itself. So to do that for six years and then to come home and be on top with the top record label in the world? It’s humbling.” Mystikal also shared that he is more mindful about his subject matter when rhyming. He then expressed how fortunate he feels to be in his current situation. “That was nothing but God that allowed this situation to unfold like this,” the rapper offered. “After the debacle, and everything that happened, God still showed up at the end.” When he was asked about Lil Wayne and Baby’s impact on him, Mystikal replied, “They didn’t save my career; they saved my life.” RELATED: Mystikal Announces Album Title On 106 & Park [VIDEO] Mystikal Ft. Lil Wayne & Birdman “Original” [MUSIC VIDEO] AUDIO: Mystikal Released From Prison
There’s a peculiar kind of pleasure to be found in watching Channing Tatum and Jonah Hill, in 21 Jump Street , horsing around and generally acting like doofuses for our amusement. As rookie cops assigned to patrol — by bicycle — a city park, they’re more than ready to prove their tough-guy status: When they spot a bunch of biker guys experiencing the joys of cannabis beneath a tree, they strut toward the gang in their shorts and bike helmets, but not before flipping their kickstands down with a mighty thwack . Later, Hill says a fervent prayer in the Catholic church that serves as headquarters for the undercover unit to which the duo has been assigned, its sign outside reading, in mistranslated Korean, “Aroma of Christ Church.” Hill kneels in front of the crucifix, beginning his urgent plea with the words, “Hey, Korean Jesus…” That irreverent riff captures the tone of the whole picture — it’s a ramshackle thing, a goof on the idea that anyone might actually care about a movie based on an old TV show, or that anyone might actually care about a movie at all. For the first half, at least, 21 Jump Street gives us reason to care. In recent years, the mania for turning old TV shows into movies has waned — a good thing, particularly given the ungodly mess known as The Green Hornet . Still, movies inspired by TV shows are coming back with a tiny vengeance — we have Tim Burton’s Dark Shadows , to name just one, to look forward to later this spring. And for now, 21 Jump Street is a small puff of fresh air simply because it’s not, like umpteen other releases coming down the pike, based on a comic-book series. Instead, its inspiration is a show that made its debut on the then-fledgling Fox Network in 1987 (and also helped launch the career of Johnny Depp, long before he became buried under Burton’s makeup or obscured by pirate-y facial hair), although this 21 Jump Street has its own distinct, goofy flavor. The movie opens in 2005, when Schmidt (Hill) and Jenko (Tatum) are still high school students. Schmidt is the smart, shlubby, unpopular one — he’s an Eminem nut with a crop of bottle-blond hair, which could be sort of cool if his braces didn’t ruin the whole effect. Jenko is the dumb, sleepy-eyed jock with lank, shaggy hair. When the school principal informs him that he can’t go to the prom and that it’s “time to pay the piper,” he squints at her dimly and murmurs, “I should pay who?” Fast-forward a few years, and these two have become first police academy buddies (Jenko, recognizing he could use some help in the smarts department, latches onto Schmidt) and then rookie officers. After botching that aforementioned pot bust, the two are reassigned to an undercover unit — headed by a hard-ass, and very funny, Ice Cube — in which their job is to pose as teenagers and find the source of a drug that’s sweeping the local high school. 21 Jump Street is at its best when directors Phil Lord and Chris Miller — the guys behind the much-loved 2009 Cloudy with a Chance of Meatballs — just let Hill and Tatum run with the patent ridiculousness of the setup. (The script is by Michael Bacall, from a story by Bacall and Hill.) Hill is reasonably funny and relaxed here; even when he’s playing the loser-sadsack, he radiates more confidence than he has in the past, instead of just relying on shtick. He still has that unassuming, “Who, me?” demeanor, but he’s more fully in control of it than ever before. And Tatum, who has already proved to be a marvelous dramatic actor even in throwaway pictures like Dear John (he also recently starred in the megahit The Vow ), has the kind of comic timing that’s deceptively laid-back and sharp at the same time. His Jenko comes off as an easygoing galoot, which makes the idiot-savant observations he comes up with that much funnier. Schmidt, upon his return to high school, notes that all the things that made him uncool in his own high-school days (caring about the environment, being tolerant) have now become hip. Jenko agrees, and he doesn’t like it, looking for a place to lay the blame: “I know the cause. It’s Glee ,” he says definitively, like a Sherlock Holmes who’s spent too much time parked in front of the tube. Together Hill and Tatum are so much fun to watch that it’s disappointing when the story around them becomes overly cluttered and convoluted. To say 21 Jump Street loses the plot isn’t quite accurate: It’s a pretty loose-limbed affair from the get-go. But Lord and Miller insist on turning it into an action film, complete with elaborate car chases and shootouts that betray the spirit of silliness they laid out at the beginning. 21 Jump Street falters when it becomes too ambitious. Its finest moments — as when Schmidt and Jenko sternly forbid a bratty kid from feeding ducks in the park, which causes him to immediately (what else?) feed the ducks — are the ones that feel unplanned and tossed-off. In those moments, 21 Jump Street shows a kind of wayward, pigeon-toed brilliance. Maybe that particular brand of half-assed genius is too evanescent to survive a whole movie. Then again, half an ass is better than none. Follow Stephanie Zacharek on Twitter . Follow Movieline on Twitter .
It’s too rare that we get to bring the tunes around here, so Movieline is extra-pleased to debut three songs from the soundtrack to the SXSW premiere Daylight Savings — all featuring singer/songwriter (not to mention the film’s leading man) Goh Nakamura. Director Dave Boyle’s sequel to last year’s Surrogate Valentine bows Thursday in Austin ; the official synopsis goes a little like this: San Francisco-based musician Goh Nakamura (playing himself) is at the height of his career. With a national tour on the horizon and his song being featured in a national TV commercial, Goh has the life he always wanted. When his long distance girlfriend Erika (AYAKO FUJITANI) breaks up with him over Skype, Goh feels lost, as though no one could ever heal his broken heart. One night in San Francisco, he meets a fellow indie musician Yea-Ming (playing herself). Unexpectedly, Goh experiences a special connection with Yea-Ming and finds himself on a road trip with his cousin Mike (MICHAEL AKI) to see her in Las Vegas. And there’s more where this came from, which the filmmakers hope to release on a soundtrack album with a little help from Kickstarter. You can check out and/or contribute to that campaign here . Turn it up! Follow S.T. VanAirsdale on Twitter . Follow Movieline on Twitter .
On ‘RapFix Live,’ Kim recalls when late pop diva offered her protection from a stalker: ‘She was so sweet about it.’ By Rob Markman, with reporting by Sway Calloway Lil’ Kim Photo: Uptin Saiidi / MTV News Lil’ Kim has stories for days. On Wednesday’s “RapFix Live,” the Queen Bee buzzed about her career, the things she’s done and the people she’s met. When a fan asked about Whitney Houston , a bright smile came upon Kim’s face and the memories came flooding. “Oh my goodness, I absolutely adored and loved Whitney Houston,” Kim gushed about the late icon. Turns out, at one time, Kim and Houston shared something in common — crazed stalkers. Once Houston learned of an obsessed fan who would leave creepy gifts at Kim’s doorstep, “The Bodyguard” actress offered her own personal bodyguard to help protect the female rapper. “Whitney Houston called me, and she was like, ‘Kim, I will send my guy, because remember when that stalker was in my house?’ ” Kim said, reenacting the conversation with her best Whitney impression. “She was so sweet about it,” Kim remembered. That wasn’t the only time the Hardcore MC and the pop diva bonded. Kim also recalled a time that she ended up on the same flight with Houston and her then-husband Bobby Brown. Surprised to see the femcee, Brown suggested Houston sit next to Kim so they could have a bit of girl talk. Kim excitedly agreed, but Whitney wasn’t in the mood for much conversation — or so she said: “She was like, ‘Girl, I’m not much of a talker,’ ” Kim recalled. “In my mind, I’m like, ‘This is Whitney. I don’t care, she can still sit there. I’ll just look at her.’ ” Kim’s dog Diamond was the icebreaker, however, and after Houston sat the pooch on her lap, she began to open up. Seems like Whitney was in the mood for some girl talk after all. “By the time we got in the air and they were getting ready to serve dinner, she had talked me to sleep,” Kim said, laughing. “She was so down to earth, so beautiful.” Related Videos ‘RapFix Live’ Welcomes Back Lil’ Kim Related Photos Whitney Houston: A Life In Photos Related Artists Whitney Houston
Kim tells ‘RapFix Live’ she doesn’t ‘give a ish’ what people think about her, and she won’t say whether ‘If You Love Me’ is about Maino. By Rob Markman, with reporting by Sway Calloway Lil’ Kim Photo: Uptin Saiidi / MTV News There is no female MC with a career trajectory quite like Lil’ Kim ‘s. When she first debuted alongside the Notorious B.I.G.’s Junior M.A.F.I.A. in 1995 on their hit single “Player’s Anthem,” Kim was a sexy temptress with lyrics as captivating as her looks. Kim grew to be a soloist and, after Biggie’s untimely demise, she became the Queen Bee of Junior M.A.F.I.A. There have been a number of ups and downs in her career, but today, the Notorious K.I.M. feels that she is at her artistic peak. “Creatively, as an artist, I think I’m in my Kanye West mode; you do whatever you wanna do and don’t give a ish what nobody got to say about it. It’s all about taking chances,” she told Sway when she appeared on Wednesday’s “RapFix Live.” If Kim’s daring new single “If You Love Me” is any indication, then it’s safe to say that she is in her 808s & Heartbreak period, the album on which Kanye traded in his rap bars for Auto-Tuned melodies. Ms. La Bella Mafia released the song this past Valentine’s Day on iTunes. While she doesn’t completely abandon her rap bars, she’s singing on the song’s hook. “If you love me, you would say it in front of the world,” Kim croons. Kim, who is working on a new album, revealed to Sway that the track was based on real-life experience. “It’s a true story. Somebody had allegedly made a record to me,” she teased without saying who that somebody is. Sway pushed further and asked Kim if the record was in response to Maino’s “That Could Be Us” single. In the past, the two have been linked romantically, but Kim wouldn’t reveal who “If You Love Me” was really about. “I plead the fifth,” she said, laughing. “There is a lot in my life, in my personal life, as far as dealing in relationships, that people don’t know,” Kim said, “and if they found out, they’ll be like, ‘What? You were with who ?’ ” What do you think about Lil’ Kim’s latest music? Let us know in the comments! Related Videos ‘RapFix Live’ Welcomes Back Lil’ Kim Related Artists Lil’ Kim
Back in 1998…. Jaime Pressly Did Playboy to get herself on the fucking scene… Then back in March 2012…. Jaime Pressly posted two pics of her amazing, ripped, mom body, and probable implants, on twitter …. Today….she posted one more…..and her fucking body is ridiculous….probably because she got a divorce from the loser she married….and decided to get her life together….but more importantly got her stamina in a place where she could fuck herself a new husband…cuz that’s what I see when I see fitness….if only all moms could pull this off, then I wouldn’t hate being a stepfather so much….
It turns out that perpetually fat and single and depressing Jennifer Love Hewitt who once was has decided to re-invent herself in a way I can appreciate….get behind…celebrate…congratulate….She’s found her lost sex appeal….and that’s fucking amazing…. She is no longer some fat cunt who would only let the camera guy shoot her from certain angles to avoid her belly that caught up with her tits when her metabolism slowed down and her career slowed down and her sex life slowed down… Rremember she was engaged at some point, and that’s what ruined her…it stole her soul and without her soul, everything else came crashing down…it was her lowest point…for her mirror, her fans, her boyfriends that followed, her pants and her shoe heels cuz she was at her fattest, medicating her sadness with food….and failed relationships… There comes a time in every girls life where she feels the need to be married, to start a family, like real pressure in her uterus, despite what her rational brain thinks, and that leads to drinking, obesity, whatever the fuck people do before throwing their life away…..usually cuz they are with the wrong motherfucker who oppresses her…. But let Jennifer Love Hewitt be a lesson to all of you, your uterus can wait, drop the deadweight losers in your life…and drop the deadweight in your belly, strip off your clothes and tell the world, you’re ready to fuck shit up the way you know how….cuz we’re all here cheering you on… This is inspirational work and I want to titty fuck her. Never too old…..to give life a second try….dont pull the JESSICA SIMPSON NUDE IN ELLE WHILE PREGNANT CUZ PREGNANCY JUSTIFIES HER OBESITY comeback….cuz that baby shit’s way more of a headache….especially with some jackass you’re just using for sperm who you have to deal with the rest of your life….
Taylor Kitsch is about to have a very big 2012. In addition to carrying Disney’s ambitious sci-fi adaptation John Carter as the titular Edgar Rice Burroughs hero, a Civil War veteran transported to Mars, he’s also fronting Peter Berg’s alien invasion actioner Battleship and starring in Oliver Stone ’s Savages later this year. But as Kitsch revealed to Movieline, the John Carter job wasn’t easy to get — and the toll it took on him during production was a challenge in itself. So who better to offer pro tips on nabbing the spotlight and handling the pressure of becoming an action hero than Kitsch, on the eve of a new chapter in his career? It should be noted that Kitsch is no stranger to action, having appeared in films like Snakes on a Plane , The Covenant , and X-Men Origins: Wolverine already in his six-year career, and no stranger to the spotlight thanks to his beloved turn as Tim Riggins on Friday Night Lights . But John Carter marks his first starring role and by far his biggest film to date, a sprawling epic set on a vast alien world envisioned in great detail by director Andrew Stanton ( Finding Nemo , WALL-E ). So how did Kitsch land the coveted role? What does his John Carter role share in common with his last one, as the late South African photojournalist Kevin Carter, in The Bang Bang Club ? All this and more as Taylor Kitsch shares his pro tips on landing (and keeping) that action hero gig. 1. Don’t think of yourself as an action star . “That’s you guys labeling me, so me saying yes to that – I can’t say yes to that because I refuse to put myself in that bubble. You saw Bang Bang Club , that’s no action movie. We hope to keep throwing you curveballs so you can’t put me in a spot like that.” 2. Ignore the hype and the naysayers – worry about putting pressure on yourself to do the work so you can sleep at night . “The pressure is what I put myself on in the sense of getting and doing the best I can, and having no regrets with what I put into it. That’s the pressure. The pressure now is that you can overthink everything, from how it’s going to do and how people are going to perceive it, you, this and that. If you want to drive yourself crazy over that you can, but I think that’s why you put so much into it. So you can lay down at night and be okay with what you did and be like, you know what? I still wouldn’t change it. If you say I’m fucking shit, I still wouldn’t change it.” 3. Be picky. Taking on a blockbuster gig is a huge commitment, so make sure you’re doing it for the right reasons. “Hopefully you feel that, you see it. You see the emotion and the energy that it takes to really do what it deserves, potentially. I think that’s what it’s about, and that’s why I’m so picky with the jobs. I’m all in. I’m never going to do a job for the sake of working. So we’re at a point now of looking at the next job, or whatever that is, and my people, my team, have been with me from Day One. If I don’t work for a year, I’m OK with it. We’re not going to do it unless we have to do it. “I was and still am okay with doing indies for the rest of my life. I don’t need to be in the spotlight; if anything, I’ll push it away even more. I live in Austin. I love the work. I love the storytelling, and that’s what the first meeting represented. I could play so many parts in this one character, from the Western, from the guy that doesn’t give a shit, to the guy who’s finally come full circle and become the leader that he’s pushed away for so long. I love that, and I love working with an Andrew Stanton, a Willem Dafoe, a Mark Strong, a Sam Morton, a Thomas Haden Church, a Lynn Collins.” 4. Make sure there is a “there” there. “Man, I will be shit if you give me nothing to play. Any actor will tell you, the more you can give me, the more depth I can escape into, the better it’s going to be on every level.” 5. Flawed characters are more interesting to play, and are worth diving into headfirst — even if it takes a lot out of you. “It’s not the war thing, but the more interesting guys I grew up watching — I like watching the more flawed guys than the perfect guys, and that’s more interesting for me to play. That’s more real to me. I love that and I love bringing people into a performance and it takes so fucking much out of you to do it honestly, but it’s worth it. Kev Carter – you won’t meet a guy more flawed. That crushed me.” 6. Remember to maintain balance with the emotional and physical demands of carrying a tentpole… especially when they require regular, long-term maintenance of action-hero muscles. “I was beyond exhausted in this film. Yeah, six day weeks is what killed me. I think I just pushed myself — I don’t regret it because you see it, but at times I could have had a better balance, maybe, just because waking up that early so often and the lack of sleep and pushing yourself that much, to have that much energy onscreen… for seven months, to be at that aesthetic! It’d be a lot easier if I had one shirtless scene and I could just get toned for that then be OK and balance it out, but it was 11 months that I was on that diet and training regimen. It’s very unreal to do that and to look that way, obviously, but it’s what I guess I demanded out of myself. This goes back to Kev [Carter, of the Bang Bang Club ], too. No one asked me to lose a pound, I wanted to. 7. That said, don’t worry too much about how you look, stud . “Fuck, man. You never want to be that conscious in a scene. That’d mean I’d be so totally out of John Carter mode, if I’m really that conscious of how I look and the lighting. That’s really bad. [But] you definitely have to do what you have to do to put yourself in the moment so it’s connecting to whatever it is. I think you’ve just got to get to a point where you’re okay with how you look and what you’re doing and you leave it and let it lay. Whatever it is, I look at that scene and it is what it is” 8. Go out for a role knowing it’s yours to lose. The audition process for John Carter was particularly grueling, with five actors and five actresses vying for the same roles over the course of two intense days. “Man, I was just so focused, I was so myopic with it. I prepped so much for that audition. I’ve always been an underdog and I came in on this gig that way, but it was like I felt it was mine to lose. I went in with that thinking really, if I can go in all out on this, I’m going to go in and kill it as much as I can. But it was a tough process, for sure. Two 14-hour days… and you’ve got to remember, what’s bizarre about getting roles and auditioning for the most part is you do your prep and everything for the most part after you get the role. It’s like OK, now I’ve got to sit down and really sketch this guy out. It’s a trip. “ 9. Whatever you do, do not go out partying the night before a big audition. “I won’t call the guy out, but I know and it gave me more oomph, put it that way, knowing that this one guy that was up for it was out partying quite hard the night before or two nights before. No matter what, I hear about that and I know I got ya, man. It’s like, good on ya for making it a little bit easier on me.” John Carter is in theaters this week. Read more on the film here . Follow Jen Yamato on Twitter . Follow Movieline on Twitter .
