Chris Silverston directs Lindsay Lohan, Lindsay Lohan and Julia Ormond in this adult psychosexual thriller reviled in its day by critics and professional haters due its former child star’s toxic media relationship.

IKWKM was a lot of dumb fun, and not just in a so bad it is good kinda way. I genuinely enjoy a pulpy thriller in the vein of Point Horror or Basic Instinct and have a massive soft spot for Lohan. She’s spirited and convincing here in both the good girl and the bad girl roles, and in her PG-13 sex scenes and strip routines, saucy as hell. The fact that such a decent starry performance is given to such a tongue in cheek silly script proves that this was unfortunately released in a period when LiLo bashing had become a global sport. Boo, the haters! Now there are a lot of targets for someone who want to shoot this B movie endeavour down to take easy aim at; robot hands and legs being the main culprit and the seemingly oft forgotten Saw style serial killer subplot that powers things along in the background. Essentially if you can think with the logic of a Mexican soap opera then you can preempt the ludicrous twists that come thick and fast. But by that same token if you can think with the logic of a Mexican soap opera then the incredulously bonkers unraveling of the mysteries will keep you glued to the screen and entertained. The ambitious red and blue colour scheme and some other quirky but forced symbolism suggest the director is aping the hyper ironic style of a Lynch or Coen Brothers noir. He doesn’t pull that off, to the film’s detriment, but at least the attempt to match the greats and not the run of the mill was there. The supporting cast is above average too but do struggle a bit more than Lohan with the mental machinations and ropey exchanges. All in all, there are far worse ways to kill a Friday night.

5