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While critics praised her performance, they weren’t so keen on the film itself, which was relegated to a limited release. She appeared with Helen Mirren and Reynolds in the drama Woman In Gold.
More significantly, she helmed, produced, and starred in her own directorial debut, All We Had, about a single mother and her 13-year-old daughter.
Holmes had been chased her entire career by the ghost of Joey Potter, everyone’s favorite girl-next-door.
Being publicly stuck in a celebrity marriage to a global megastar defined by his wacky outbursts and perennially “on” charisma had dimmed Holmes’s spunky persona.
Audiences were barely seeing her on the mainstream screen as Holmes opted for smaller projects.
Talking to Matt Lauer on , he became visibly agitated, decrying the practice of psychiatric medicine.
Later that year, Holmes mixed it up as a vigilante schoolteacher in the black comedy-thriller Miss Meadows.
Her character, described as a “Pulp Fiction Mary Poppins,” was all about defying expectations; even the poster was The Gun in Betty Lou’s Handbag meets Serial Mom—Holmes, in a retro dress and Mary Janes, coldly pointing a pistol out of frame.
After starring as Jackie Kennedy in the 2011 mini-series The Kennedys, Holmes reprises the role—this time, as Jackie O.—in Reelz’s upcoming follow-up, The Kennedys After Camelot, which she will also direct.
It’s that spark and spirit—low-key taking on Scientology without taking on Scientology in movies like Touched With Fire, tackling surprising characters against type, and seizing control of her own destiny behind the camera—that we’d like to see more of as we enter a new age of Katie Holmes.