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In Defense Of ‘Jennifer’s Body’

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Jennifer's Body

It’s been a while since I’ve defended a movie I’m passionate about so I thought it was high time I did it again. This time it’s the much-maligned Jennifer’s Bodystarring Amanda Seyfried and Megan Fox. Released in 2009, Jennifer’s Body was stripper-turned-screenwriter Diablo Cody’s much-anticipated follow-up to Juno, the movie that won her a Best Original Screenplay Oscar. On top of that, it was directed by Karyn Kusama, whose breakthrough film Girlfight won her nationwide acclaim (then Aeon Flux happened). The pedigree behind the film pretty much assured the film would be a success, both critically and commercially. Sadly, that was not the case. Jennifer’s Body was received poorly by critics (it stands at a 42% on Rotten Tomatoes and a 47 on Metacritic) and had a lukewarm domestic box office take of $31.5 million. I actually really like Jennifer’s Body. I don’t love it, but I’ve noticed myself liking it a little bit more every time I watch it. I don’t believe it deserves all of the hate it gets, and I’m here to tell you why.

I won’t go over the plot in detail since most of you reading this have probably already seen it, but in case you haven’t: the film centers around Jennifer Check (Megan Fox) and Anita “Needy” Lesnicky (Amanda Seyfried), two best friends (since their sandbox days) from completely different sides of the social spectrum. Jennifer is sacrificed by emo rock band Low Shoulder (led by Adam Brody) so that they can become famous. The catch is that they were supposed to sacrifice a virgin, which Jennifer most definitely is not (she’s not even a backdoor virgin!). Rather than killing her, she becomes possessed by a demon and must feed on young boys to stay alive. Needless to say, this tests her relationship with Needy, who is also working on her relationship with her boyfriend Chip (Johnny Simmons).

A major complaint with Jennifer’s Body is Diablo Cody’s script. Ultimately, I think this was because people were still experiencing Juno fatigue at the time of its release. Re-watching it this week I really didn’t find the dialogue that bothersome. For the dialogue, Cody-isms like referring to a vagina as a “front butt” or using the word “salty” to describe a hot boy aren’t particularly annoying to me, and the more I watch the film the more natural I find it. I remember seeing Jennifer’s Body for the first time in theaters and thinking that all of the dialogue felt awkward and forced (and a wannabe Heathers/Jawbreaker/Mean Girls), but I didn’t feel that way upon re-watching it. My what a difference 6 years can make! There are pop culture references aplenty in Jennifer’s Body, and most of them are completely random (Aquamarine, anyone?) so they definitely make the film feel a little dated, but overall I don’t think it hurts the film. Also, I’m completely ashamed to say that I refer to people as “lime green Jell-O” every now and then. Don’t judge.

Jennifer's Body

“She’s just hovering! It’s not that impressive!”

Critics claimed that it Jennifer’s Body was neither scary, funny nor gory enough. I don’t really agree with any of those statements. It has gore, but it’s not overtly gory. I don’t think it needs to be though. It has some scary moments, with the flashback to Jennifer’s sacrifice being one of them. The humor is subjective. I think Jennifer’s Body has several laugh out loud moments. But obviously, if you don’t like Cody’s writing, you aren’t going to find it funny. To give you an idea of my sense of humor: the Boston Market reference when Jennifer is devouring the rotisserie chicken cracks me up. I think “Do you know what this is for? It’s for cutting boxes!” is an ingenious line. I don’t care what anyone says. And I can’t deny that I laugh out loud every time I hear Fox scream “I am going to eat your soul and SHIT IT OUT Lesnicky!” in the pool scene. Not to mention the bit about needing a tampon when she gets impaled on a metal pole. These are things that I didn’t find that funny when I first saw the film, but I found myself  laughing uncontrollably this time around.

I need to get this out of the way before I continue: I don’t hate Megan Fox. I don’t necessarily think she’s a good actress, but I think she’s perfectly suited for this role. Essentially, she is playing a character that most people assume she is in real life (which may be the case, but I’ve never met her so I can’t comment on that). She plays a vapid bitch and it works here. I also think she handles Cody’s dialogue relatively well. It doesn’t come across any more forced than Heathers did in the 80s. She also has a really creepy grin. I think she was taking lessons from this guy:

Jennifer's Body

Amanda Seyfried took me by surprise in this movie. Her first scene is a bit jarring (especially if you are only used to seeing her in Mean Girls and Mamma Mia!). Her badass-ness comes across forced in the first scene of the film, but as the movie progresses she grows on you. By the end of the film I totally bought her switch in character. This is the movie that actually sold me on Seyfried’s abilities as an actress, though I think she is great in everything she’s been in.

The rest of the cast for this movie is insane. I can’t believe they got so many cameos but they did. Chris Pratt pops up for a hot second in the beginning, JK Simmons has two funny scenes (which he steals, obviously), Amy Sedaris and Cynthia Stevenson have thankless roles as concerned mothers. Kyle Gallner has a small role as a goth kid who decides to ask Jennifer out on a date at the wrong time (and I still think it was a missed opportunity not to play Cobra Starship’s “Chew Me Up and Spit Me Out” during his death scene. It was on the soundtrack for God’s sake!).

Jennifer's Body

What IS this?

I don’t have any problem with the plot or the direction it goes, other than the fact that the origin of Jennifer and Needy’s friendship isn’t really explained all that well. It is a very well-made film (there’s a great Carrie homage when the local bar burns down in which Needy follows a trail of fire on one of the beams on the ceiling) and doesn’t take itself too seriously. There are a few too-convenient plot developments, like how Needy can hear Chip screaming in the pool house when she is clearly too far away to hear him (and the pool house looks like a painted-on backdrop in the shot when she begins running to it), Needy finds out how to kill a demon a little too easily and for some reason she can telepathically detect when Jennifer kisses Chip.

Another thing to note that I think has been overlooked is that this is a horror film starring women that was also written and directed by women. With the exception of The Babadook, I can’t think of a recent film that can say that about itself. Jennifer’s Body has a lot to say about female relationships and friendships. The fact that Jennifer is actually the one who is jealous of Needy may be a bit on the nose, but it doesn’t stop it from being a reality of so many girls’ friendships. Of course the hot girl is actually deeply insecure and unsatisfied with her life. Of course she would want to steal (and kill) her only friend’s boyfriend just to feel better about herself. The moment at the end of the film when Jennifer actually gives up the fight once Needy rips the BFF necklace off of her neck is a really nice touch that I think gives a beautiful sentimentality to the film.

I realize my thoughts on this movie have been long-winded, so please excuse me (and my run-on sentences), but I’m very curious to know what all of you think. Have any of you found that, like me Jennifer’s Body grows on you the more you watch it? Or do you still loathe it and find it incredibly annoying? Let me know in the comments below!

A journalist for Bloody Disgusting since 2015, Trace writes film reviews and editorials, as well as co-hosts Bloody Disgusting's Horror Queers podcast, which looks at horror films through a queer lens. He has since become dedicated to amplifying queer voices in the horror community, while also injecting his own personal flair into film discourse. Trace lives in Austin, TX with his husband and their two dogs. Find him on Twitter @TracedThurman

Editorials

‘Immaculate’ – A Companion Watch Guide to the Religious Horror Movie and Its Cinematic Influences

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The Devils - Immaculate companion guide
Pictured: 'The Devils' 1971

The religious horror movie Immaculate, starring Sydney Sweeney and directed by Michael Mohan, wears its horror influences on its sleeves. NEON’s new horror movie is now available on Digital and PVOD, making it easier to catch up with the buzzy title. If you’ve already seen Immaculate, this companion watch guide highlights horror movies to pair with it.

Sweeney stars in Immaculate as Cecilia, a woman of devout faith who is offered a fulfilling new role at an illustrious Italian convent. Cecilia’s warm welcome to the picture-perfect Italian countryside gets derailed soon enough when she discovers she’s become pregnant and realizes the convent harbors disturbing secrets.

From Will Bates’ gothic score to the filming locations and even shot compositions, Immaculate owes a lot to its cinematic influences. Mohan pulls from more than just religious horror, though. While Immaculate pays tribute to the classics, the horror movie surprises for the way it leans so heavily into Italian horror and New French Extremity. Let’s dig into many of the film’s most prominent horror influences with a companion watch guide.

Warning: Immaculate spoilers ahead.


Rosemary’s Baby

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The mother of all pregnancy horror movies introduces Rosemary Woodhouse (Mia Farrow), an eager-to-please housewife who’s supportive of her husband, Guy, and thrilled he landed them a spot in the coveted Bramford apartment building. Guy proposes a romantic evening, which gives way to a hallucinogenic nightmare scenario that leaves Rosemary confused and pregnant. Rosemary’s suspicions and paranoia mount as she’s gaslit by everyone around her, all attempting to distract her from her deeply abnormal pregnancy. While Cecilia follows a similar emotional journey to Rosemary, from the confusion over her baby’s conception to being gaslit by those who claim to have her best interests in mind, Immaculate inverts the iconic final frame of Rosemary’s Baby to great effect.


The Exorcist

Dick Smith makeup The Exorcist

William Friedkin’s horror classic shook audiences to their core upon release in the ’70s, largely for its shocking imagery. A grim battle over faith is waged between demon Pazuzu and priests Damien Karras (Jason Miller) and Lankester Merrin (Max von Sydow). The battleground happens to be a 12-year-old, Regan MacNeil (Linda Blair), whose possessed form commits blasphemy often, including violently masturbating with a crucifix. Yet Friedkin captures the horrifying events with stunning cinematography; the emotional complexity and shot composition lend elegance to a film that counterbalances the horror. That balance between transgressive imagery and artful form permeates Immaculate as well.


Suspiria

Suspiria

Jessica Harper stars as Suzy Bannion, an American newcomer at a prestigious dance academy in Germany who uncovers a supernatural conspiracy amid a series of grisly murders. It’s a dance academy so disciplined in its art form that its students and faculty live their full time, spending nearly every waking hour there, including built-in meals and scheduled bedtimes. Like Suzy Bannion, Cecilia is a novitiate committed to learning her chosen trade, so much so that she travels to a foreign country to continue her training. Also, like Suzy, Cecilia quickly realizes the pristine façade of her new setting belies sinister secrets that mean her harm. 


What Have You Done to Solange?

What Have You Done to Solange

This 1972 Italian horror film follows a college professor who gets embroiled in a bizarre series of murders when his mistress, a student, witnesses one taking place. The professor starts his own investigation to discover what happened to the young woman, Solange. Sex, murder, and religion course through this Giallo’s veins, which features I Spit on Your Grave’s Camille Keaton as Solange. Immaculate director Michael Mohan revealed to The Wrap that he emulated director Massimo Dallamano’s techniques, particularly in a key scene that sees Cecilia alone in a crowded room of male superiors, all interrogating her on her immaculate status.


The Red Queen Kills Seven Times

The Red Queen Kills Seven Times

In this Giallo, two sisters inherit their family’s castle that’s also cursed. When a dark-haired, red-robed woman begins killing people around them, the sisters begin to wonder if the castle’s mysterious curse has resurfaced. Director Emilio Miraglia infuses his Giallo with vibrant style, with the titular Red Queen instantly eye-catching in design. While the killer’s design and use of red no doubt played an influential role in some of Immaculate’s nightmare imagery, its biggest inspiration in Mohan’s film is its score. Immaculate pays tribute to The Red Queen Kills Seven Times through specific music cues.


The Vanishing

The Vanishing

Rex’s life is irrevocably changed when the love of his life is abducted from a rest stop. Three years later, he begins receiving letters from his girlfriend’s abductor. Director George Sluizer infuses his simple premise with bone-chilling dread and psychological terror as the kidnapper toys with Red. It builds to a harrowing finale you won’t forget; and neither did Mohan, who cited The Vanishing as an influence on Immaculate. Likely for its surprise closing moments, but mostly for the way Sluizer filmed from inside a coffin. 


The Other Hell

The Other Hell

This nunsploitation film begins where Immaculate ends: in the catacombs of a convent that leads to an underground laboratory. The Other Hell sees a priest investigating the seemingly paranormal activity surrounding the convent as possessed nuns get violent toward others. But is this a case of the Devil or simply nuns run amok? Immaculate opts to ground its horrors in reality, where The Other Hell leans into the supernatural, but the surprise lab setting beneath the holy grounds evokes the same sense of blasphemous shock. 


Inside

Inside 2007

During Immaculate‘s freakout climax, Cecilia sets the underground lab on fire with Father Sal Tedeschi (Álvaro Morte) locked inside. He manages to escape, though badly burned, and chases Cecilia through the catacombs. When Father Tedeschi catches Cecilia, he attempts to cut her baby out of her womb, and the stark imagery instantly calls Alexandre Bustillo and Julien Maury’s seminal French horror movie to mind. Like Tedeschi, Inside’s La Femme (Béatrice Dalle) will stop at nothing to get the baby, badly burned and all. 


Burial Ground

Burial Ground creepy kid

At first glance, this Italian zombie movie bears little resemblance to Immaculate. The plot sees an eclectic group forced to band together against a wave of undead, offering no shortage of zombie gore and wild character quirks. What connects them is the setting; both employed the Villa Parisi as a filming location. The Villa Parisi happens to be a prominent filming spot for Italian horror; also pair the new horror movie with Mario Bava’s A Bay of Blood or Blood for Dracula for additional boundary-pushing horror titles shot at the Villa Parisi.


The Devils

The Devils 1971 religious horror

The Devils was always intended to be incendiary. Horror, at its most depraved and sadistic, tends to make casual viewers uncomfortable. Ken Russell’s 1971 epic takes it to a whole new squeamish level with its nightmarish visuals steeped in some historical accuracy. There are the horror classics, like The Exorcist, and there are definitive transgressive horror cult classics. The Devils falls squarely in the latter, and Russell’s fearlessness in exploring taboos and wielding unholy imagery inspired Mohan’s approach to the escalating horror in Immaculate

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