Based upon the best-selling book by Dyan Sheldon, “Drama Queen” is a teenage girl fairy tale dressed up in sequined dresses, sparkle-laden eye shadow and sumptuously divine high-heeled shoes. Lohan plays Mary Elizabeth Cep, a devoted New Yorker unceremoniously uprooted across the river to the New Jersey suburbs by her ceramic swirling artist mother Karen (Glenne Headly, a long way from her “Dirty Rotten Scoundrels” heyday).

Proudly proclaiming herself to be more akin to a “Lola” than a “Mary,” the young woman proceeds to try and take her school by storm with her precocious uniqueness and unwavering belief she is meant to be a star. Whether it is the role of Eliza in a hip-hop high school version of “Pygmalion” to trying to crash the breaking up party of an idolized rock band, this is a girl with the spunk and passion to get what she wants, and nothing is going to stand in her way.

Of course, things do stand in the way, not the least of which is the school’s resident spoiled rich girl Carla (Megan Fox). She’s not used to be upstaged by anyone, least of all a twit from New York who thinks a necklace made out of classic Coca-Cola bottle caps is a fashion statement. She’s do everything in her power to make Lola/Mary the school’s number one laughingstock, and if some feeling get hurt along the way, well, that’s never stopped Carla in the past so why should it now?

I can’t really say anything terrible about this picture. The problem is, I can’t really say anything all that great about it, either. I do like Lohan and think she’s quite promising as an actress, but as starring vehicles go “Drama Queen” really isn’t the most regal creation out there. Heck, last summer’s “The Lizzie McGuire Movie” had more personality than this picture. If anything, this movie almost feels like it could be a rather long episode of the now defunct Hillary Duff television show, kind of ironic considering that these two Disney sweethearts are supposedly in something of a row.

Still, the audience sure did eat it all up, and there isn’t anything too terrible about it. Sara Sugarman directs with an assured hand while Gail Parent’s screenplay manages to hit most of the novel’s higher points. And, any film that manages to inject Carol Kane into some much needed over the top mayhem rates at least half a smile in my book, the veteran funny lady generating more laughs with a sly smirk than the rest of the cast can with a series of pratfalls. I also liked young Alison Pill playing Lola/Mary’s slightly drab sidekick Ella. She reminded me a little of myself, her shy exterior just a mask for a jitterbugging dynamo ready to burst out of wallflower cocoon.