DIRECTOR: Karyn Kusama
KEY ACTORS: Megan Fox, Amanda Seyfried
IMDB SCORE: 5.2
ROTTEN TOMATOES SCORE: 44%
SEX SCORE: 4/5
✔️ Are the cast fuckable? It’s Megan Fox as a hot cheerleader. Of course, the cast is fuckable! She’s deliberately sexy but it works!
✔️ And it passes the Bechdel Test – Needy and Jennifer talk about a demonic ritual if nothing else!
✔️ I’ve only watched it once but I really enjoyed it and would watch it again so, yes, rewatchable!
❌ But it didn’t inspire fantasies. The sex is, well, inexperienced and I have no desire to literally eat men…
✔️ It is sex positive, however. Both main characters have sex – the hot one and the nerdy one – and nothing bad happens to them because they’ve had sex! It also showed realistic first/early sexual experiences with obvious condom use that wasn’t really played for laughs, beyond the simple intrinsic hilarity of comfortable, consenting sex!
As always, this contains spoilers so watch the film before you read on…
STREAMING: Amazon Prime (rent £3.49, buy £4.49), YouTube (from £3.99). For a full list of streaming options, check out JustWatch.com
[Content warning: this review contains discussions of trauma, sexual assault and rape]
I’m starting to think I need to change the subtitle of this blog – it is a blog exploring movie sex and movie love but it is increasingly becoming a blog where I rant about the patriarchy and feminism. Because I’m starting to realise quite how much movies reflect the attitudes of the time that they were made, and because they are produced in an undeniably male dominated industry, they seem to act as magnifiers for all the niggling problems that grate against women. And horror movies and their obsession with sex and women make it even worse!
So here we are again – week two of my Halloween specials, and I’m writing about another film that was critically panned when it was released and yet hindsight has revealed a film that is not only good but was significantly ahead of its time. It’s just that it wasn’t made for men or for the male gaze (regardless of what the marketing may suggest) and so was completely misunderstood.
Jennifer’s Body tells the story of two teenagers who had been friends since they were children – Jennifer is hot and mean; Needy (I don’t know why she’s called that if not as an over obvious label) is bookish and quiet, but they’re friends. They go to see a band in a dive bar and the venue burns down in mysterious circumstances. In the chaos, Jennifer gets a lift with the band, supposedly for safety but actually because they had picked her out for a violent demonic ritual. Unfortunately for them, Jennifer isn’t a virgin as they’d expected so the ritual backfires, turning her into a demon succubus who feeds on other teenage boys. After she kills Needy’s boyfriend, Needy fights back, killing Jennifer and ending up in a secure mental health facility.
Doing my research for this film actually made me really angry – there was just too much sexism! Together, it had a cumulative effect of not only infuriating me but also damaging the careers of some very talented women. Jennifer’s Body was written by Diablo Cody, straight after she won the Academy Award for writing Juno; and it stars Megan Fox in her first role after Transformers. It should have been an escalating point for both of their careers but it wasn’t. It’s critical failure meant that Cody moved to writing for TV until 2018’s Tully and Megan Fox hasn’t yet done anything really impactful (Sorry to Teenaged Mutant Ninja Turtles fans!).
What upset me most was that they were both affected by different but equally cliched patriarchal bullshit and neither did anything that would have been more than a blip in a male colleague’s career. Cody made a poorly received film, sure, but she was subsequently brought down by the fact that women aren’t allowed to fail. Our actions not only speak for all women and our failures risk closing doors for other women in our industry, but we are certainly not allowed second chances. As Anne Cohen wrote for Refinery29 last year, there was a disquieting tone to the reviews – ‘as if by this one critical failure, Cody had signed her own Hollywood death warrant.’ And it proved to be true.
Megan Fox’s story is more troubling but no less typical. After publicly criticising the work environment on the sets of the Transformers films, she was fired by Michael Bay who also published a letter from some of his film crew that ripped her to pieces in an unnecessarily personal and vitriolic fashion. Should she have criticised Bay so publicly? Probably not. But did she deserve such an obvious and sadly successful attempt to blacklist and discredit her? Absolutely not! Calling her ‘everything from “dumb-as-a-rock” to “Ms. Sourpants” and “Ms. Princess” to “trailer trash…posing like a pornstar”’ is not an objective and fair appraisal; it’s mean and cruel and reeks of that attitude shared by angry men who have been slighted by a woman who they feel is beneath them.
Which, sadly but not unexpectedly, brings us around to the #MeToo movement. Frederick Blichert writing for Vice expresses hope that ‘a poor-faith campaign to frame an actress as difficult may meet some resistance today’ after the methods Harvey Weinstein used to blacklist women who displeased him have been revealed and themselves discredited. But it’s not just the treatment of Megan Fox that hasn’t aged well now – Jennifer’s Body as a whole is a movie that should be looked at completely differently now we are in a post-#MeToo world.
Because the entire plot of Jennifer’s Body revolves around the question of what happened to Jennifer in that van with the band. Except we don’t really need to ask what happened; the implications are clear. Just as in Practical Magic, the supernatural is used as a metaphor or substitute for emotions or experiences that are too powerful or difficult to explain – rather than being assaulted or raped by the band, Jennifer is ritually sacrificed. She then processes her trauma by acting out a ‘cathartic fantasy…using her victimised, violated body to wreak bloody vengeance on the patriarchy.’ In a dark, twisted way, it’s kind of empowering! These men have used her body for their own gain and yet it is her sexuality that allows her to take revenge, using that body to ‘entrap and feed on those who once objectified her.’ Jennifer really is a feminist revenge hero!
And there are two particularly interesting aspects of her revenge that I wanted to mention. Firstly, her actual attackers almost get away with it, and they definitely benefit from the ritual, enjoying huge success until Needy wreaks her own bloody revenge. Instead, it is the people around Jennifer who suffer. Considering how rarely abusers and rapists are convicted, this feels right somehow. And despite occurring in a supernatural movie, it feels real. Constance Grady at Vox felt that this reads as a ‘dark bit of satire’ now when we consider how many men have had abusive behaviour revealed during #MeToo but whose career has not suffered long term. Trauma and abuse cause a lot of collateral damage around the people who have been abused, but too often there is devastatingly little impact on the abuser. In fact, many recent reviews mention the election of Brett Kavanaugh to the US Supreme Court and how it sent a message to teenage girls that ‘whatever their male peers do to them in their youth doesn’t really matter.’ That’s not supernatural; that is real.
But more interestingly and more importantly, Jennifer’s Body is a slasher film that doesn’t punish its female characters for having sex. Spoilers for next week’s post on Halloween: this is not common in horror films! Characters losing their virginity is usually the same as signing a death warrant, but Jennifer is saved by her sexual experience…in a dark, twisted way. If she were a virgin, she would have died when she was sacrificed but her sexuality gave her the power to fight back. And once again, that’s kind of empowering. No wonder the patriarchy and all those male critics didn’t enjoy this film!
But they’d be almost forgiven for expecting Jennifer’s Body to be a ‘normal’ horror film with sexy hot girls getting naked and being killed, because that’s exactly how it was marketed. And I’m afraid that I was one of the many, many people who were put off by the aggressively sexual promotion – I’m wary of slasher films as I don’t like jump scares and I didn’t need to see another overly sexualised film where another naked girl is killed, so I didn’t bother.
It has been suggested that the marketing choices for Jennifer’s Body were deliberate and were supposed to draw in a male audience: ‘Come for the scene of Jennifer and Needy making out, get hit in the face with an hour and forty-seven minutes of female storytelling. How do you like that, boys?’ It feels like the much trailed kiss between Jennifer and Needy was only there to appeal to this demographic as it doesn’t quite fit with my interpretation of the rest of the film and felt unnecessary. Megan Fox is hot and is ‘on display for men to pay to look at’ but she’s knowingly hot, knowingly sexy. She’s exaggerating and playing up to the cheerleader stereotype so that her ugliness (in massive inverted commas as she’s still gorgeous) when she’s hungry is more pronounced. She even jokes about looking normal when she’s supposed to look rough. But there seemed no reason for the kiss, except to exaggerate Jennifer’s sexual predator status…and to appeal to the male gaze.
But if that was the tactic, it seriously backfired! Critics and horny viewers didn’t get it. It wasn’t sexy enough to be hot, wasn’t funny enough to be humorous, wasn’t scary enough to be horror, and wasn’t trashy enough to be trash!
Watching it now, I can’t believe that no one realised at the time that it was satire – hilarious, cutting, subversive satire that turned all those movie tropes in on themselves. And it is not a fantasy for men! Roger Ebert describes it as ‘Twilight for boys, with Megan Fox in the Robert Pattinson role, except that I recall Pattinson was shirtless’ as if straight boys want ‘demonic cheerleaders’ in the same way straight girls want vampires. The more I read about how badly the film was received initially, the more I wanted to scream ‘it wasn’t made for you!’
Because Jennifer’s Body is about being a teenage girl. It’s about how cruel we can be to each other and how we cling to toxic friendships way beyond their natural life because so much else is changing. Jennifer was an arsehole to Needy long before she became a demon. In fact, her possession didn’t really change her personality that much – just her focus. But it took that kind of dramatic crisis to end their friendship. There were no demonic possessions at my school but, wow, there was drama! We really hurt each other and were mean and screamed at each other. And we’d run home and cry at how much someone had changed and how we couldn’t believe the way they were acting, and then we’d make up the next day and start again. Being a teenager sucks!
And Jennifer’s Body is about how there is no perfect victim – something that is too often forgotten. Jennifer was a bitch and went to that bar intending on hooking up with the band, but that definitely doesn’t mean that she deserved what happened to her. As was so eloquently put in that Refinery29 article, ‘Jennifer may be a mean girl possessed by a demon, and her murderous rampage sets her up as someone who needs to be stopped, but she’s also a victim. She’s a beautiful girl with low self-esteem whose been taught that her entire self-worth is wrapped up in her looks and sex appeal. Wouldn’t you want revenge for that?’
Megan Fox got in. She knew exactly what she was doing, vamping up her sex appeal and exaggerating her plastic and bouncy character, as it made her vulnerability during her attack more shocking. She did it so well that I actually felt quite sorry for her when Needy finally killed her. And she knew how important it was to be that imperfect victim, that real person who does bad things but still did not deserve her fate: ‘If I was to have a message, it would be to be a different kind of role model to girls….It’s O.K. to be different from how you’re supposed to be.’ Fox told The View and quoted in the New York Times. ‘I worry that’s totally lost.’
And it was totally lost. ‘2009 just wasn’t ready for this movie’ Vox claimed, and I am so pleased that it is finally receiving the recognition it deserves, appearing on lists of top horror movies directed by women and being reclaimed as a ‘forgotten feminist classic.’
It’s just a shame it’s taken so long for these women’s voices to be heard…
Next week: Halloween