Jamie Lee Curtis Bio

Jamie Lee Curtis (Jamie Lee Haden-Guest, Baroness Haden-Guest)  is an American actress, author, and activist born on 22nd November 1958 in Santa Monica, California, United States . In 1978 she made her film debut, starring as Laurie Strode in John Carpenter’s horror film Halloween. The film helped establish her as a scream queen, and she went on to appear in a string of horror movies throughout the early 1980s, including The Fog, Prom Night and Terror Train. She reprised her role as Laurie Strode in four sequels, including Halloween H20; 20 Years Later in 1998 and Halloween in 2018.

Jamie Lee Curtis Age | How Old Is Jamie Lee Curtis

Born on 22nd November 1958, Jamie is 60 years old as of 2018.

Jamie Lee Curtis Mom

She is the daughter of the late actress Janet Leigh, who was an American actress, singer, dancer, and author.

Jamie Lee Curtis Husband

Curtis is married to Christopher Guest since December 18, 1984. She originally fell in love with him when she saw a picture of him from the movie This Is Spinal Tap in Rolling Stone and said to her friend Debra Hill; ‘Oh, I’m going to marry that guy’, and actually married him five months later.Together they have two adopted children; Annie, born in 1986 and Thomas born in 1996). She is actor Jake Gyllenhaal’s godmother.

Jamie Lee Curtis Daughter

She has on daughter by the name Annie Guest.

Jamie Lee Curtis Career

Jamie Lee Curtis Halloween | Jamie Lee Curtis Halloween 1978

She made her film debut in the 1978 horror film Halloween, in which she played the role of Laurie Strode. The film which turned out to be a major success, was considered the highest grossing independent film of its time, earning accolades as a classic horror film. She was later cast in several horror films, garnering her the title, scream queen.

The Fog, her next film was helmed by Halloween director John Carpenter. In February 1980, the horror film opened to mixed reviews but strong box office, starting Curtis as a horror film starlet. Prom Night, her next film, released in July 1980,, was a low-budget Canadian slasher film , for which she earned a Genie Award nomination for Best Performance by a Foreign Actress. The film was similar in style to Halloween, yet received negative reviews which marked it as a disposable entry in the then-popular slasher film genre. That same year, she also starred in Terror Train, which opened in October and was met with negative reviews equivalent to Prom Night. However both films performed moderately well at the box office.

In both films, she performed a similar function , of the main character whose friends are murdered, and is practically the only protagonist to survive. Roger Ebert, film critic who had given negative reviews to all three of Curtis’s 1980 films, said that Curtis is to the current horror film glut what Christopher Lee was to the last one-or Boris Karloff was in the 1930s. She has returned five times to the Halloween series , playing Laurie Strode again in the sequels Halloween II in 1981, Halloween H20: 20 Years Later in 1998, Halloween: Resurrection in 2002, and Halloween in 2018, and having an uncredited voice role in Halloween III: Season of the Witch in 1982.

Jamie Lee Curtis Trading Places

Her role in Trading Places in 1983, helped Curtis shed her horror queen image, and garnered her a BAFTA award as best supporting actress. A Fish Called Wanda which premiered in 1988, achieved near cult status, while showcasing her as a comedic actress. She was nominated for a BAFTA as best leading actress.

Jamie Lee Curtis True Lies

For her work in 1994’s True Lies, she won a Golden Globe. Her other film roles include Disney’s Freaky Friday of 2003, a film she was cast opposite Lindsay Lohan. The film was filmed at Palisades High School in Pacific Palisades, California, near where Curtis and Guest live with their children. For this film she was nominated for a Golden Globe Award for Best Actress – Motion Picture Musical or Comedy.

Curtis told Access Hollywood in October 2006, that she had closed the book on her acting career to focus on her family. In June 2007, she returned to acting after being cast in Disney’s live-action-animated film, Beverly Hills Chihuahua, co-starring opposite Piper Perabo as one of three live-action characters in the film. She also starred opposite Kristen Bell and Sigourney Weaver, in the 2010 comedy film You Again.

Jamie Lee Curtis Net Worth

She has an estimated net worth of $35 Million.

Jamie Lee Curtis Images | Jamie Lee Curtis Young

Jamie Lee Curtis Movies

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Jamie Lee Curtis Intersex

Longstanding, rumors claimed Jamie Lee Curtis was born a hermaphrodite, or intersex and that she underwent surgery as a child to change her gender to that of a woman. The fact is Jamie is not Hermaphrodite and was not born as one .

Is Jamie Lee Curtis Gay

Jamie who is happily married and a mother of two adopted kids  is not gay.

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Jamie Lee Curtis News

An Acceptable Loss Is Just So-so, But Jamie Lee Curtis Is Fascinating

Source: vulture.com

In a December essay in the Washington Post, the journalist James Mann makes a provocative case that Adam McKay’s Dick Cheney anti-hagiography Vice misses the point of the ex-vice-president’s legacy: It wasn’t, writes Mann, a “soulless quest for power” (as portrayed by McKay and the actor Christian Bale) but “the advancement of fallacious beliefs that seriously damaged our nation: his unilateral approach to foreign policy, his preference for military force over diplomacy, his considerable overestimation of American strength and his desire to reshape the Middle East.” I’d respectfully argue that Vice touches on those aspects of his legacy at least fleetingly, but for a Cheney who conforms to Mann’s thesis, you should look to — of all people — Jamie Lee Curtis as Vice President Rachel Burke, the chief villain of Joe Chappelle’s so-so quasi-thriller, An Acceptable Loss.

I say “of all people” because Curtis — one of the original horror-movie “final girls” — has in the last year become an icon of empowerment, especially for women who have survived terrible traumas. But as Burke she embodies another sort of power: hair-trigger American militarism with a fat dose of Islamophobia. Curtis uses her profile (short haircut; sleek, monochromatic wardrobe) to create a stripped-down portrait of zealotry and white privilege. Burke is only an ideologue if you count American exceptionalism as an ideology, but that will do. Her aim is “total victory” against the “primeval bastards” who threaten U.S. hegemony. The movie’s title follows from Cheney’s “one percent doctrine,” which holds that even a minuscule threat to national security justifies all manner of civil-liberties violations and Mideast collateral damage.

The protagonist of An Acceptable Loss is the much less arresting character Elizabeth “Libby” Lamm (Tika Sumpter), a national security adviser who seems loosely inspired by Condoleezza Rice. The film unfolds in two time periods, a flashback in which Libby is pressured by Burke to interpret ambiguous intel in a way that favors military action; and several years later, when she’s on her own and a pariah — a scapegoat for an unspecified (until the end) operation that most people found abhorrent. In the movie’s present tense, Libby arrives at an unnamed California university to teach what appears to be a morally neutral seminar in the tactics of war, but she’s all too aware of the moralism that follows her — aware enough to shun email or a cell phone. Many of those around her point and whisper. Others angrily confront her. A student, Martin (Ben Tavassoli), begins to stalk her, to the point of breaking into her well-fortified residence and setting up video cameras. Is he a pervert or does he have a political ax to grind?

The other melodramatic hook is a memoir that Libby has written about her time under Burke that no one in the executive branch wants published. What they’ll do to prevent publication will determine whether An Acceptable Loss will be a paranoid-conspiracy chase movie or an ethical-dilemma drama. Chappelle walks the line — wobbly. Although he cut his teeth with a Halloween sequel (not with Curtis), he moved on to The Wire, CSI: Miami, and Chicago Fire, and he seems too high-minded and earnest to commit to making a shapely thriller.

I will say that three quarters of the way through, An Acceptable Loss shifts into a higher gear and has one good, ironic touch: Libby uses her knowledge of low-tech military tactics to escape the government’s high-tech surveillance systems. What’s inescapable is that Sumpter looks way too young to be a foreign-policy genius and doesn’t rise much above glossy, soap-opera proficiency. The character is plainly stricken with guilt, but has she evolved? Is the nickname “Libby” meant to suggest a burgeoning inner lefty? (Libby Lamm could be translated as “liberal on the run.”) You can’t tell. In real life, Libby would likely be coddled by right-wing think tanks and find an exquisitely nuanced way to justify her actions, but Chappelle has supplied her character with the wheeziest of melodramatic devices: a father (Clarke Peters) who’s a big-deal newspaper editor and grounds her in the real world. Peters gives a good, credible performance, but this good parent/bad parent tug-of-war (Curtis’s Burke comes on as a surrogate mother) is too neat.

An Acceptable Loss has its moments, though. Tavassoli is a smart, wiry young actor — he brings tension even to scenes that are flabbily written. And Curtis is fascinating, at least until her final, preposterous scene. She often plays jumpy, with wide and nervous peripheral vision. It must have been fun to play a character without vocal or physical inflection, one whose certainty chills you to the bone.