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Welcome to MFoxDaily a blog dedicated to actress and model beautiful Megan Fox Megan Denise Fox (born May 16, ) is an American actress and model. Premium-jenifers body mit kostenlosem weltweiten Versand auf AliExpress. laurenlifts: “ jenifersbody: “ Sun's out - Guns out ” Guuuuuurrrrllllllll ” · jenifersbody​. Sun's out - Guns out. laurenlifts. Guuuuuurrrrllllllll. He mentioned Ty Burr 's review in particular, and stated that the film could perhaps have used more horror and been Girls sex vidos, but that the film is "ultimately a movie about two teenage girls' misadventures in victimization" and that "[t]he jokes are virtually incidental to the friction imposed on women who Video xxx esperanza gomez to be two sides of the same coin. Karyn Kusama. Running Gigantic dick porn. Officer Roman Duda Juno Rinaldi Something about it felt uncomfortable for Emily ratajkowski boobs. Erik Nordby of KNB known for his work on The Haunting in Connecticutwhich also Free meet and fuck site co-star Kyle Gallner stated, "We immediately went into pitch mode in January and Jenifersbody a solid two weeks trying to not only bid the script but also collect as much reference material and stuff for Jenifersbody first client get together.

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How did you buy your ticket? View All Videos 1. View All Photos Movie Info. When a demon takes possession of her, high-school hottie Jennifer Megan Fox turns a hungry eye on guys who never stood a chance with her before.

While evil Jennifer satisfies her appetite for human flesh with the school's male population, her nerdy friend, Needy Amanda Seyfried , learns what's happening and vows to put an end to the carnage.

Karyn Kusama. Diablo Cody. Nov 25, Megan Fox Jennifer. Amanda Seyfried Needy. Johnny Simmons Chip. Adam Brody Nikolai. Simmons Mr.

Amy Sedaris Toni Lesnicky. Kyle Gallner Colin Gray. Chris Pratt Roman Duda. Cynthia Stevenson Chip's Mom.

Juno Rinaldi Officer Warzak. Karyn Kusama Director. Diablo Cody Screenwriter. Daniel Dubiecki Producer. Mason Novick Producer. Jason Reitman Producer.

Diablo Cody Executive Producer. Theodore Shapiro Original Music. Stephen Barton Original Music. David Mullen Cinematographer.

Plummy Tucker Film Editor. March 29, Full Review…. March 28, Full Review…. July 23, Rating: 4. March 29, Rating: D Full Review….

March 28, Rating: 7. View All Critic Reviews Apr 07, Surprisingly, in this biting teen horror it is the scenes that are meant to be the scary ones that dissasociate the film most from its audience.

Diablo Cody proved herself with Juno to be a respectable screenwriter with an extremely personal style, but I just wish she hadn't tried to make such an action-y film and instead chose to focus on a more humble and talkier product.

As it is, Jennifer's Body is quite edgy and witty, just not as original as it could have been and Fox is on peak form and completely overshadows Seyfried.

Harry W Super Reviewer. Nov 16, When I reviewed Byzantium, I spoke about the horrors genre's reputation regarding its female characters and general attitudes to women.

I praised Neil Jordan's film for avoiding many of the pitfalls associated with female characters in horror, possessing as it did two well-written, very different women with agency and complex personalities.

While the film was not without its problems, it was a refreshing example of how something so easily written off as tacky and tedious still has the power to innovate and reflect changes in social attitudes.

Jennifer's Body is a similar attempt to create a horror film or in this case a horror-comedy primary driven by and about women. While both films are written by women Moira Buffini and Diablo Cody respectively , this one also has a female director in the shape of Karyn Kusama Aeon Flux.

Ultimately it's neither scary nor funny enough to match the standards of the best horror-comedies, but it's an interesting little film worthy of its cult status which deserved to do better at the box office.

Broadly speaking, there are three different categories of cult film. The first, and rarest, are those which achieve success and whose cult status comes from being entrenched in a specific sub-culture - films likes Flash Gordon and Monty Python and the Holy Grail.

The second, and most typical, are those so far outside the mainstream that they never stood any real chance of turning a profit. Pink Flamingos, The Bed-Sitting Room and Eraserhead never courted popularity in the first place, being either knowing and provocative trash or at the weird end of the arthouse circuit.

Jennifer's Body belongs in the third and final category: films which could and should have been hits, but for some reason failed to resonate.

Like Scott Pilgrim vs. Numerous explanations have been offered as to why Jennifer's Body failed at the box office, ranging from American preconceptions of horror-comedies to the R-rating it received and the exploitative marketing, which played up the lesbian aspects of the film in a vain and shallow attempt to bring in the boys.

None of these reasons are entirely plausible and none of them have any impact on whether or not the film is any good.

It is simply depressing that a film made with such good intentions failed to find the audience which needed to see it the most.

Whatever your ultimate feelings about it, you have to admire Jennifer's Body for what it is attempting to do as a horror-comedy.

At their most essential, Cody and Kusama are trying to tell a story about female empowerment in a genre which so often reduces women to cannon fodder or base titalation.

Even efforts like The Slumber Party Massacre and Sorority Row, where female characters outnumber male ones, all too often turn their women into screaming obstacles who have little to no intelligence or control over their own actions.

Jennifer's Body owes a big debt to two horror films about powerful women, one old, one relatively new.

The first film it strongly takes after is Carrie, which is visually referenced in Fox's blood-soaked prom dress towards its climax.

Both films have protagonists who are dealing with a sudden rise in their sexuality, whether through menstruating for the first time or being the most popular girl in school.

And both films use their characters' ultimately malevolent power as a metaphor about underestimating women: the men who come a cropper in these films are generally those who try to take advantage of the main character.

The second film to which Jennifer's Body owes a debt is Ginger Snaps, a cult Canadian horror film which used lycanthropy becoming a werewolf as a metaphor for puberty.

The film took many of the key elements of An American Werewolf in London, and turned them from a very male tale of lust and rage into a story about relationships between women, and how people deal with their best friends altering beyond all recognition.

The relationship between Needy and Jennifer is to some extent an American version of Ginger Snaps, while Jennifer's feeding on men reflects her Canadian counterpart's first attack after she is bitten.

While Ginger Snaps is marginally the better film, Jennifer's Body does manage to get its message across in a fairly convincing way. We are lured into believing that Jennifer's changes after that fateful night are merely a sudden step up in her journey through adolescence.

The film tricks us into condoning the male character's attitudes towards our leading lady, believing them to be either reasonable for people in that situation or warranted in some messed-up way.

Jennifer's subsequent attacks are a wake-up call and a challenge to cultural attitudes wherein women are depicted as weak, submissive and harmless.

The film deserves props for managing to turn the pain of its female characters into something meaningful. So many horror films begin or centre around a painful act perpetrated against a woman, which is then used to justify all the vengeance and bloodshed that follows - I Spit On Your Grave being a prime example.

Jennifer's Body does feature an awful moment, but it turns it on its head, first by the ritual backfiring to create an evil force, and then by the band receiving their comeuppance through Needy.

The difference is that the violence is being carried out by the women who have been wronged, rather than men on behalf of women who are too broken or dead to avenge themselves.

The performances in Jennifer's Body are all of a decent calibre. It's easy to laugh at Megan Fox following her work on the Transformers series, but she is pretty capable here; even if she is a little old to pass as a teenager, she's playful and teasing enough to fit our expectations.

Amanda Seyfried is a decent match for her, and while she has less material to work with overall, she still gets a few juicy lines in the pool scene.

The supporting cast are generally unremarkable, with only Johnny Simmons of Scott Pilgrim fame making an impression. Despite the best efforts of its cast, the writing in Jennifer's Body is one of several problems which prevent the film from fulfilling its potential.

Cody is a talented screenwriter, as Juno demonstrated, but this time around her characters begin to blend together with very samey dialogue.

When Mark Kermode reviewed the film, he remarked that Cody was in danger of becoming "the female Quentin Tarantino", namely writing dialogue in such a way that all her characters sound the same.

It's not so bad that it runs the film into the ground, but having all one's characters as spiky and hipsterish isn't a good way to go.

The film is also conflicted from a visual point of view. While it is thematically subversive, it often looks every bit as scuzzy and sleazy as the horror films it is trying to subvert.

The film is a very sexualised affair, and sometimes it's hard to tell whether the sexuality is there to challenge expectations or to simply pander to the whims of horny teenagers.

As Aeon Flux demonstrated, Kusama has yet to find a distinctive style as a director, and the film suffers from having an aesthetic which all often resembles all the awful horror remakes produced by Michael Bay's Platinum Dunes.

The final issue with Jennifer's Body is that it isn't scary or funny enough to cut the mustard.

It's definitely plumping for horror over the comedy more often than not, insofar as it doesn't try to turn Jennifer's killings into a gleeful gorefest, a la The Evil Dead.

But the film is more unnerving that it is scary, and only moderately unnerving at that, while the comedy is fun but not fully realised.

It's not enough to derail the film, and non-horror audiences may get more out of it, but for dyed-in-the-wool horror fans, it's not quite the hearty meal it needs to be.

Jennifer's Body is an interesting and enjoyable little film whose cult status will undoubtedly grow in the years to come.

It remains one of the best things that Megan Fox has ever done and perhaps will ever do , and thematically speaking it has its heart and head in the right place.

Ultimately it's too riddled with problems to be given a clean bill of health, but for those wanting more from teen horror, it's not a bad way to pass the time.

Daniel M Super Reviewer. Dec 22, Interesting attempt on the high school horror film but it misses the mark with some boring plot devices and boring melodrama.

The seems to think it is much smarter then it actually is, this could of been a modern scream film but it never delivers. Other Girl as Karissa C. Tynes Eve Harlow Goth Girl Michael Brock Goth Boy Genevieve Buechner Goth Girl 2 Adrian Hough Colin's Dad Gabrielle Rose Colin's Mom Michael Bean Priest Bill Fagerbakke Jonas' Dad Marilyn Norry Jonas' Mom Cut Chemist Candlelight Vigil Singer Whitney Chow Candlelight Vigil Singer Michael Orstad Candlelight Vigil Singer Ronnie Robinson Orderly Ed Anders Orderly Roxanne Wong Patient 1 Diane Dutra Patient 2 Maya Toews The Creepy Hand Andrea Baker Voice actor voice as Andrea E.

Baker Lisa Breitman Voice actor voice Cathy Cavadini Voice actor voice as Catherine Cavadini Lanei Chapman Voice actor voice as Lanai Chapman Vicki Davis Voice actor voice Jeff Fischer Voice actor voice Aaron Fors Voice actor voice Barbara Harris Voice actor voice as Barbara Iley Caryn Johnson Voice actor voice Jeremy Maxwell Voice actor voice David Michie Voice actor voice Levi Nunez Voice actor voice Paige Pollack Voice actor voice David Randolph Voice actor voice as David J.

Randolph Roger Craig Smith Voice actor voice Joel Swetow Voice actor voice Andreana Weiner Voice actor voice Lennon Wynn Voice actor voice Rest of cast listed alphabetically: Michelle Andrew Locker Room Girl uncredited Chelsea Baker Fan girl uncredited Diablo Cody Girl uncredited Lance Henriksen Passing Motorist uncredited Kier Mellour Candie uncredited Dan Savoie Fire Victim uncredited Mitchell Thom David Mullen Blumenfeld Daniel Dubiecki

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In shock, Jennifer agrees to leave with the band, despite Needy's protests. Later that evening, Jennifer, covered in blood, appears in Needy's kitchen and attempts to eat food from the refrigerator.

She immediately vomits a trail of black, spiny fluid and leaves in a hurry. The next morning at school, Jennifer appears fine and dismisses Needy's concerns.

While the town is devastated by the deaths caused by the fire, Jennifer seduces the school's football captain in the woods and disembowels him.

Meanwhile, the members of Low Shoulder gain popularity due to their falsely-rumored heroism during the fire and offer to make a charity appearance at the school's spring formal.

A month later, Jennifer has become pale. While Needy and her boyfriend Chip have sex, Needy senses something dreadful has happened. She leaves in a panic and almost runs over Jennifer, who is drenched in blood.

At home, she again encounters Jennifer, who explains that Low Shoulder had taken her into the woods after the bar fire and offered her as a virgin sacrifice to Satan in exchange for fame and fortune.

Although the sacrifice and demonic exchange were a success, Jennifer was not actually a virgin, so she became permanently possessed.

Leaving the woods, Jennifer had encountered an exchange student leaving the scene of the fire and made him her first victim.

Jennifer states that when she has eaten, she can withstand virtually any injury without pain, healing instantly.

The following day, Needy goes to the school library's occult section and determines that Jennifer is a succubus who must feed on flesh and can only be killed while she is hungry and weak.

Needy tells Chip about her discoveries about Jennifer and warns him not to attend the school dance. He does not believe her, so she breaks up with him in order to protect him.

Chip decides to attend the dance anyway but is intercepted by Jennifer, who takes him to an abandoned pool house and begins feeding on him.

Needy arrives there and fights Jennifer. Chip impales Jennifer through the stomach with a pool skimmer, but Jennifer removes it and escapes, while Chip dies.

Needy goes to Jennifer's home and breaks into her bedroom. She fights Jennifer and stabs her in the heart with a utility knife , killing her and destroying the demon.

Jennifer's mother enters and finds Needy on top of her daughter's body. Soon after, Needy is brought to an asylum. In her asylum room, she manifests some of Jennifer's supernatural powers, such as super strength and the ability to levitate , due to a non-fatal bite from Jennifer during the fight between them.

She escapes the mental facility, hitchhikes a ride to the hotel where Low Shoulder are staying, and murders them. Jennifer's Body is the follow-up to writer and producer Diablo Cody's and Jason Reitman's collaboration efforts on Juno.

Reitman commented, "We want to make unusual films, and anything that turns a genre on its ear interests Dan and I. It was just so original, so imaginative", she stated.

In February , a cease and desist was given to a writer at CC2K. Cody stated that when writing the script, she was "simultaneously trying to pay tribute to some of the conventions that we've already seen in horror, yet, at the same time, kind of turn them on their ear".

She wanted to "honor that, and at the same time, [she] had never really seen this particular subgenre done with girls and [she] tried to do a little of both".

Jennifer's Body could play on both of these aspects. Cody said she wanted the film to speak to female empowerment and explore the complex relationships between best friends.

I want to write roles that service women. I want to tell stories from a female perspective. I want to create good parts for actresses where they're not just accessories to men.

She wanted to show the "almost horrific" aspect of such devotion and its relation to parasitism. The producers decided to have the film open with the statement "Hell is a teenage girl" to reflect the "horrors" of puberty and that "the hellish emotions felt during high school often reappear as teenage girls mature into young women".

There's the scene where Jennifer's sitting alone smearing makeup on her face. I always thought that was such a sad image.

She's so vulnerable. I don't know any woman who hasn't had a moment sitting in front of the mirror and thinking, 'Help me, I want to be somebody else.

Cody crafted the story to follow a night that ends in a tragic fire, after which Jennifer is kidnapped and set up as a sacrifice which goes awry.

Jennifer, now possessed by a demon and subsequently altered into a succubus , sets out on a bloody rampage in which she devours boys, and it is up to Needy to stop her.

In sort of a reversal aspect of how puberty changes a girl's life , Jennifer must consume the blood of others once a month or she becomes weak and plain-looking.

I think it's always really satisfying and cathartic to see a character that was previously bullied become super human", said Cody.

I was never an Alpha female , and I've never gotten off with bullying other people", she said. The nickname "Needy" was given to Seyfried's character to underline the essentially condescending dynamic in Jennifer and Needy's high school relationship, [31] as Needy often admires Jennifer and feels she needs her.

Cody said "Jennifer is a product of a culture that pressures girls to be skinny, beautiful and just like movie stars" and that she "hopes the film inspires girls to take life into their own hands and do with it, what they want".

Assigned to direct the film, Kusama said, "I think also a lot of horror is about femaleness — whether it's Carrie or Rosemary's Baby.

Addressing her decision to have Jennifer and Needy be romantically intimate at one point during the film, which takes place in the form of a long and passionate kissing scene, Cody said she did not write the scene to score publicity.

The scene was "intended to be something profound and meaningful" to her and Kusama. Obviously we knew people were going to totally sensationalize it.

They're beautiful girls, the scene is hot—I'm not afraid to say that. There is a sexual energy between the girls which is kind of authentic, because I know when I was a teen-aged girl, the friendships that I had with other girls were almost romantic, they were so intense.

I wanted to sleep at my friend's house every night, I wanted to wear her clothes, we would talk on the phone until our ears ached. I wanted to capture that heightened feeling you get as an adolescent that you don't really feel as a grownup.

Though the film is part comedy, Cody initially intended for it to be a "very dark, very brooding" traditional slasher film.

Close to "a third of the way into the process" she felt that she was incapable of doing so because "the humor just kept sneaking in".

She stated, "I have a macabre sense of humor. A lot of the things in the movie that are horrifying are funny to me. So, I actually think comedy and horror are kind of similar in that way.

For Jennifer's demonic form, the creators used different techniques. They did a live cast of me from the shoulders up.

They created me and then put the teeth in", stated Fox. So it would go from me, then in post-production it would somehow go to her and the fake head.

They would mix them all together. For the "vomit scene" where Jennifer has just arrived at Needy's house after being murdered and inhabited by a demon, Fox said the liquid she was given to spit out "was actually Scratch the Hershey's because I don't want to endorse that or anything", she stated.

It goes around the back of my ear and then I bite down on it on the side of my face, like this, and it projectiles. It's a tube Directing the scene, Kusama said it had a classic feel.

Fox agreed, "Yeah, and it projects whatever that material was. I'm not sure. It was pretty intense. I think it was worse for [Seyfried] because she's the one that got puked on.

I was the one doing the puking. For more practical special effects on the set as opposed to CG , Kusama said it "was a choice that we all sort of made organically".

She said they appreciate "those kind of effects in older movies and [questions] sometimes how much more effective it is to use a ton of CG" and that they "always started with a practical effect and then moved forward from there to lay a groundwork of something that's actually physically, materially there".

They found this to be more enjoyable. Erik Nordby of KNB known for his work on The Haunting in Connecticut , which also features co-star Kyle Gallner stated, "We immediately went into pitch mode in January and spent a solid two weeks trying to not only bid the script but also collect as much reference material and stuff for the first client get together.

From there, KNB "produced some tests, grabbing a bunch of stills from [Fox] and [did their] work to indicate how that balance could exist between special effects and visual effects and still maintain a level of subtlety" and that "[MPC] responded really well".

The teams wanted to "maintain some sort of the Megan Fox allure" but said that it was "incredibly difficult because as soon as [they] warped her face in any direction, the shine kind of came off it".

To combat this, they ended up focusing on anything below her nose, where they had the freedom to make things "as horrific as [they] needed to" and then above her nose, "[they] could manipulate it somewhat with warps and color correction in her eye sockets.

So even at her worst, she had some of that sexiness throughout". Nordby said most of the attention was devoted to Jennifer's face and that "very quickly in combination" with special effects and makeup, MPC thought up a five-station system for what Jennifer goes through.

Nordby stated:. Stage one is beautiful Jennifer and then two and three were strictly makeup where her eyes become more recessed and she would start to look plain like the rest of us.

And stage four was some custom dentures that KNB made for her, and then visual effects in stage four was mainly facial warping and recessing her eyes some more and having a pinning effect to her irises and a variety of other musculature deforms, just bringing her cheek bones down more.

And stage five was the full on, as crazy as it gets, which you don't really see until near the end. During testing, Nordby and the special effects teams realized that getting Fox in and out of the appliance used to create Jennifer's murderous jaw would be too time-consuming.

To remedy this, they hired a photo double. He said that "when it came time to shoot any of these jaw moments, [Fox] would act out in rehearsal how she was going to attack her victim and [they would] fine tune that blocking so it was relatively locked".

Additionally, the team would have Fox wear contact lenses and go through exactly the same motions as normal Jennifer. Nordby spent a significant amount of time shooting "the articulating jaw" scene because they had "ultimate control over how the light was hitting the head".

He said, "This so-called jaw shot became a pivotal point, because for four months of the post, the filmmakers thought the film was getting too scary so MPC pulled back on the jaw and then they thought it wasn't scary enough.

These different poses helped the two teams perfect the jaw scenes. MPC additionally worked on the disappearing waterfall that serves as Jennifer's grave when she is killed at the beginning of the film.

They transformed the mysterious waterfall into a whirlpool. And the night shots play a pivotal role in the film, and we do a huge crane over.

Nordby said, "I eventually lowered down a shot—a ton of reference of the area because I knew we'd have to do some digi-matte work to recreate the basin that the whirlpool ends up in.

During the film's fire scene, Cody appears as a character in the barroom. She had asked to be set on fire.

By the way, they would not allow me to do a full burn for insurance purposes, even though I argued that Burt Reynolds had done it once", stated Cody.

To me, there's nothing more horrifying than being stuck in a claustrophobic space as it is burning down so, to me, it was more like tapping into a personal fear.

That's not tough. In late , Fox Atomic had plans to film Jennifer's Body before a possible writer's strike. Some of the scenes, particularly those situated in a school setting, were filmed in local Vancouver -area schools such as Vancouver Technical Secondary School , Langley Secondary School and University Hill Secondary School.

The waterfalls scene was filmed at the Devil's Kettle waterfall in the Judge C. Fox said that while filming her highly anticipated kissing scene with Seyfried that Seyfried was "extremely uncomfortable" but that she herself was not.

It is a woman. With a woman's smell—soft and floraly—and maybe the pheromones are different. Something about it felt uncomfortable for me.

Music was incorporated as an essential part of the film; there are "very specific bands" placed in band posters in some parts, such as in the selection of the band poster on the walls of the bar.

She said, "As the movie progresses, it becomes a pretty clearly music-oriented movie. It's sort of a youth movie.

Some of those bands were totally made up and some of them are not. Film critic Roger Ebert enjoyed the film, dubbing it a " Twilight for boys" and saying "as a movie about a flesh-eating cheerleader, it's better than it has to be.

This isn't your assembly-line teen horror thriller". Additionally, he complimented Fox as "[coming] through" in her portrayal and "play[ing] the role straight".

He gave the film three out of four stars. It's not hard to imagine she can have anyone who takes her fancy".

Charity credited the dialogue as "bitingly smart, funny teen-speak Mary Pols of Time magazine called the film entertaining and reasoned "[t]here is a lot of intelligent camp here, and some sharply observed characterizations" and Cody and Kusama's "depiction of the ways in which women like Needy are willing to compromise themselves to indulge an ultimately less secure friend is spot-on".

The Miami Herald 's Rene Rodriguez likened the film's "[effective exploitation] of the genre as a metaphor for adolescent angst, female sexuality and the strange, sometimes corrosive bonds between girls who claim to be best friends" to Brian De Palma 's film Carrie.

Scott of The New York Times concluded "the movie deserves—and is likely to win—a devoted cult following, despite its flaws" and that "[these flaws] are mitigated by a sensibility that mixes playful pop-culture ingenuity with a healthy shot of feminist anger".

Giving a partially negative review of the film was Joshua Rothkopf of Time Out New York , who said the "movie has a centerfold sheen to it—and some lesbianic soft-core flirtation to match—as its plot dives deeply into Twilight -esque heavy-melo meltdown in the last act" and that "Cody throws one too many losses at Needy; the screenwriter loses her satiric way about halfway through.

But for a while, this has real fangs". Watch it, forget it, move on". An episode of Murder, She Wrote has more thrills.

At all". Michael Sragow of Baltimore Sun described the only "perfect aspect" of Jennifer's Body as being its title.

In , Constance Grady reported in Vox that a new critical consensus was forming that appreciated the film as a "forgotten feminist classic".

This, according to Grady, allowed viewers to see the film, rather than as a sex fantasy, as a revenge fantasy as Jennifer uses her abused body against her attackers.

Now, Grady wrote, this straight male gaze is no longer the default for film critics or for the broader audience as a whole.

According to the screenwriter, Diablo Cody, the film was marketed all wrong. She had argued with executives who wanted "to market this to boys who like Megan Fox.

That's who's going to see it. And I was like. This is a movie for girls too! That audience, they did not attempt to reach. In , the film was categorized as a horror classic.

Box-office analysts and critics debated the film's underperformance. Analyst Jeff Bock, of Exhibitor Relations, reasoned the film underperformed at the box office due to two reasons; the first, he said, is the genre.

Bock stated that Americans get horror and comedy, but with the idea "of those two things together in one place, people suddenly get very dumb".

He noted films Tremors , Slither , Shaun of the Dead , Eight Legged Freaks and The Evil Dead series , and said that while many of those are considered critical and business successes, "none of them have brought in the megabucks that a simple horror or comedy can.

Despite other R-rated horror films having centered around teenagers, some such as Scream having been successful, Bock said the second reason Jennifer's Body under-performed at the box office is the R-rating, which he described as a "killer" for the film.

He said the film is set in high school and "sounds like the perfect package for teens" but that "the R rating banned many teens from the theaters" and the studio was left with "an R-rated film marketed to whom, exactly?

VanAirsdale of Movieline echoed Sperling's sentiment about the weekend, as "some of the stinkiest high-profile openings in recent memory".

The first, he said, is the distributor. VanAirsdale classified this as a "[b]ig mistake" and that "[y]ou'd have to go back to The Devil Wears Prada to find an example of a Fox release that worked without a genuine male lead; you'd probably have to go back to Aliens to find a genre example of such that they pulled off successfully.

VanAirsdale cited the release date and screening as the third and fourth reasons; he said there was confusion about what day the film was going to debut in theaters, and that Toronto is "a nation removed from the audience where the film's actual momentum had been accruing for at least a month" and that "this rarely works for early fall releases; not because news doesn't travel, obviously, but because it peels away a layer of accessibility that accompanies New York and L.

He mentioned Ty Burr 's review in particular, and stated that the film could perhaps have used more horror and been funnier, but that the film is "ultimately a movie about two teenage girls' misadventures in victimization" and that "[t]he jokes are virtually incidental to the friction imposed on women who happen to be two sides of the same coin.

Who's the monster, and who made the monster? Sorry if you wanted Heathers with demons, fellas. Equipment's cheap these days; perhaps make your own?

She's young and has a lot of promise. Tom Charity. By tapping in to the same vein of 'hormonal horror' as the excellent 'Ginger Snaps', this offers a witty, subversive look at the darker side of teen friendship.

Nigel Floyd. The premise - Mean Girls with demonic possession and a feminist subtext - is promising.

But the film fails to deliver either laughs or scares in sufficient numbers. Wendy Ide. A genre high-school horror flick with a satirical edge.

Peter Bradshaw. Kusama blends Cody's knowledge of teen movies, the horror genre, and rape-revenge tales into a piece that proves to be as emotionally realistic as it is self-aware.

Matt Cipolla. Cody only subverts the genre after covering all her bases with a good story, and she seems to know her stuff. Cammila Albertson.

Unfortunately, Jennifer's Body is a horror movie, and the inevitable girlfright devolves into senseless bloodbath, which doesn't suit the talents of either Cody or Kusama.

As Jennifer rampages the town, lame digs at pop culture targets such as Miley Cyrus and Aquamarine ensue, leaving us to wonder how much time Cody spent on her script once she came up with its first line.

Chris Tinkham. Peter Sciretta. The real shame is that, devoid of proper context, the dialogue now really does seem - as the Cody- haters contend - like little more than a series of unattached, curled-lip one-liners.

Donald Clarke. Top Box Office. More Top Movies Trailers. Certified Fresh Picks. Black Mirror: Season 5. Into The Dark: Season 2. Lovecraft Country: Season 1.

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How did you buy your ticket? View All Videos 1. View All Photos Movie Info. When a demon takes possession of her, high-school hottie Jennifer Megan Fox turns a hungry eye on guys who never stood a chance with her before.

While evil Jennifer satisfies her appetite for human flesh with the school's male population, her nerdy friend, Needy Amanda Seyfried , learns what's happening and vows to put an end to the carnage.

Karyn Kusama. Diablo Cody. Nov 25, Megan Fox Jennifer. Amanda Seyfried Needy. Johnny Simmons Chip. Adam Brody Nikolai.

Simmons Mr. Amy Sedaris Toni Lesnicky. Kyle Gallner Colin Gray. Chris Pratt Roman Duda. Cynthia Stevenson Chip's Mom. Juno Rinaldi Officer Warzak.

Karyn Kusama Director. Diablo Cody Screenwriter. Daniel Dubiecki Producer. Mason Novick Producer. Jason Reitman Producer. Diablo Cody Executive Producer.

Theodore Shapiro Original Music. Stephen Barton Original Music. David Mullen Cinematographer. Plummy Tucker Film Editor. March 29, Full Review….

March 28, Full Review…. July 23, Rating: 4. March 29, Rating: D Full Review…. March 28, Rating: 7. View All Critic Reviews Apr 07, Surprisingly, in this biting teen horror it is the scenes that are meant to be the scary ones that dissasociate the film most from its audience.

Diablo Cody proved herself with Juno to be a respectable screenwriter with an extremely personal style, but I just wish she hadn't tried to make such an action-y film and instead chose to focus on a more humble and talkier product.

As it is, Jennifer's Body is quite edgy and witty, just not as original as it could have been and Fox is on peak form and completely overshadows Seyfried.

Harry W Super Reviewer. Nov 16, When I reviewed Byzantium, I spoke about the horrors genre's reputation regarding its female characters and general attitudes to women.

I praised Neil Jordan's film for avoiding many of the pitfalls associated with female characters in horror, possessing as it did two well-written, very different women with agency and complex personalities.

While the film was not without its problems, it was a refreshing example of how something so easily written off as tacky and tedious still has the power to innovate and reflect changes in social attitudes.

Jennifer's Body is a similar attempt to create a horror film or in this case a horror-comedy primary driven by and about women. While both films are written by women Moira Buffini and Diablo Cody respectively , this one also has a female director in the shape of Karyn Kusama Aeon Flux.

Ultimately it's neither scary nor funny enough to match the standards of the best horror-comedies, but it's an interesting little film worthy of its cult status which deserved to do better at the box office.

Broadly speaking, there are three different categories of cult film. The first, and rarest, are those which achieve success and whose cult status comes from being entrenched in a specific sub-culture - films likes Flash Gordon and Monty Python and the Holy Grail.

The second, and most typical, are those so far outside the mainstream that they never stood any real chance of turning a profit.

Pink Flamingos, The Bed-Sitting Room and Eraserhead never courted popularity in the first place, being either knowing and provocative trash or at the weird end of the arthouse circuit.

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