The secrets of Lindsay Lohan's youthful face revealed as she wows at Freakier Friday premiere in London
The US actress, 39, joined co-star Jamie Lee Curtis in London's Leicester Square — 22 years after they appeared in Freaky Friday.
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Lindsay dazzled last night in a sequin gown while Jamie, 66, wore a red cape dress.
The younger star credits laser facials, carrot juice and Botox for keeping her looking young — although some fans are convinced she has gone under the knife.
One wrote: ' Lindsay Lohan looks fabulous.
"I need to know who is her surgeon.
"She looks refreshed but natural.'
Another added: 'Are we all in agreement that Lindsay Lohan's surgeon absolutely did amazing?
"She looks beautiful.'
Lindsay has insisted she has never been under the knife, saying: 'I'm like, 'When? With what time? Where?'.'
After moving to Dubai in 2014, she met future husband Bader Shammas and they now have a two-year-old son, Luai.
She also became pals with Dr Radmila Lukian, a dermatologist who offers a non-surgical facelift.
In 2003's Freaky Friday, Lindsay and Jamie played a mum and daughter who switched bodies.
The follow-up is out on Friday.
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Sign up to our Arts and Culture newsletter, get the latest news and reviews from our specialist arts writers Sign up Thank you for signing up! Did you know with a Digital Subscription to The Scotsman, you can get unlimited access to the website including our premium content, as well as benefiting from fewer ads, loyalty rewards and much more. Learn More Sorry, there seem to be some issues. Please try again later. Submitting... Freakier Friday (PG) ★★☆☆☆ The Kingdom (15) ★★★★☆ Another week, another legacy sequel. This time it's Jamie Lee Curtis and Lindsay Lohan trotting out a belated follow-up to their 2003 body swapping box-office hit Freaky Friday, itself a remake of the third most famous Jodie Foster film of 1976 (after Taxi Driver and Bugsy Malone). In the Lohan/Curtis version, Lohan played angsty teen to Curtis's overly critical psychoanalyst mother, with the body swap shenanigans helping resolve the former's resistance to her mother's impending nuptials and the latter's despair at her daughter's pop star ambitions and mild teen rebellion. Jamie Lee Curtis and Lindsay Lohan in Freakier Friday | Glen Wilson Freakier Friday picks up the story in real time, with Lohan's Anna now a single mother with a teenage daughter of her own (played by Julia Butters, who went toe-to-toe with Leonardo Di Caprio as the precocious child actor in Once Upon a Time … in Hollywood), and Curtis's Tess on hand with all manner of passive-aggressive parenting advice. The body swapping twist comes when Anna falls for the British father of her daughter Harper's school nemesis, Lily, a newly arrived English rose whose elitist personality rubs this dungaree-wearing surfer-girl up the wrong way (Sophia Hammons plays Lily; Manny Jacinto — from Netflix show The Good Place — plays her dad). With neither daughter of this soon-to-be-blended family happy about what their parents' marriage will mean for their futures, some spiritual jiggery-pokery from a psychic on the weekend of the wedding results in Harper and her mum switching bodies and Lily trading hers, not with her dad (that would be too problematic for a Disney film), but with Harper's grandmother Tess. Advertisement Hide Ad Advertisement Hide Ad The latter perhaps justifies the 'Freakier' part of the title, but doesn't make a lot of sense beyond providing a way to centre Curtis as its star. That also means Curtis gets most of the best scenes, with Lohan relegated to straight woman, thanklessly sandwiched between Curtis's Lily-as-Tess freaking out about suddenly having 'crevices' in her face and peeing at inopportune moments and the Gen-Z Butters and Hammons (inhabiting the newly liberated spirit of their elders) cramming junk-food into their faces like they're in a kid-friendly remake of The Substance. There are a couple of funny lines (Facebook is described as a datastore for old people) and Curtis in comedy mode is always good value. But a lot of the humour is very bitty, dependent on pratfalls, groaning intergenerational misunderstandings, and comedians in small roles throwing jokes at a wall to see which ones will stick (very few of them do). It also relies on a lot of call-backs to that dim-and-distant first film, yet lacks the elegant simplicity of that film's plot. 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Though it's not clear at first how much Lesia knows about the family business (the film is good at depicting the veil of ignorance that all kids have about their parents' actual lives), as news reports filter in about a series of assassinations in which Pierre-Paul might have been the intended target, the hushed conversations she witnesses between her father and his men help her put two-and-two together and their planned bonding time soon evolves into a father-daughter road trip to escape the police and, more importantly, the rivals circling Pierre-Paul's cloistered kingdom. Of course, the opening shot of Lesia never leaves us in any doubt about where this is all going (it involves her being bloodied in a hunting ritual). Nevertheless, the film's patience in letting us experience this world through her eyes makes the violence much more forceful when it does come. Benedetti, meanwhile, is superb — her face a quiet study in innocence corrupted as her father's regretful choices seep into her by osmosis, hardening her to a life she's fated to follow.
