The next day, Lohan arrived relatively on time for a makeup test. She sat behind a table with a can of Sprite, looked into the camera and flashed a wholesome smile that would not have been out of place in the world’s best soda commercial. Schrader grabbed my arm and pointed at Lohan’s image.
“See? That’s why we put up with all the crap. You can shoot bad movies with actresses who are always on time. But look! The rest is just noise.”
It took two months and the quasi intervention of Lohan’s father to get Lohan to finish two hours of looping for the outdoor scenes. In the interim, Lohan punched a psychic, was accused of hitting a pedestrian in New York, was under investigation by the I.R.S. and watched her parents melt down on a very special episode of “Dr. Phil.”
An in-depth and nuanced look at what it was like to work with Lindsay Lohan on the film “The Canyon,” out now on pay-per-view and I suppose limited release.
The TL;DR: Lohan remains a talented actress dogged by personal demons, addiction and a fear of being alone which compels her toward a strange need to be surrounded by chaos. In the end, the author concludes, “Canyon’s” problems had less to do with Lohan’s issues on the set and more with director Paul Schrader’s (writer of Taxi Driver) poor decisions.
As for the film itself, The New Yorker’s David Denby gives it a poor review, but says Lohan offers the film’s “only palpable emotion. However, the magazine’s blogger Richard Brody gives the film high marks.