Young Adult

This is one of those films you read about and really look forward to; but, once seen, you realize that, while good, it's not quite worthy of the build up.

Charlize Theron is quite good and makes the most of the script she has to work with. As always, hers eyes, facial expression and body language all help her bring life to the role.

Patton Oswalt also does a star turn as a bit of conscience for Charlize's character.

The story is well told, albeit a bit of a stretch. For someone reaching back to her past for a lost love, Charlize's character is quite believable; it's her long ago beau, Patrick Wilson, that's not quite up to snuff. Given that these two play off each other for a great deal of the film, it would be nicer to have had a better performer opposite her.

That said, it's worth watching, though probably a bit depressing for many viewers.

When Jason Reitman and Diablo Cody struck gold with "Juno" in 2007, they did so with a rare combination of contemporary wit, quirkiness and heart. Their four-year reunion in "Young Adult" won't be nearly as heralded, but it might arguably be a better film.

Although ironic when juxtaposed with its main character, a 37-year-old who hasn't gotten over her high school sweetheart, Reitman and Cody display obvious evidence of maturation. The subject and humor are decidedly darker, and the emotional energy more raw and challenging.

Charlize Theron stars as Mavis Gary, perhaps one of film's most hopelessly pathetic protagonists. Before giving the opening credit sequence its cue, Reitman puts Theron to work and paints a clear picture of spiraling drunken loneliness, reality TV and apathy toward responsibility. Appropriately, she's a young-adult fiction writer for a dwindling book series who's also a former prom queen. Theron is perfect for the role with her combination of in- concealable beauty and dramatic prowess. Mavis never becomes a caricature under her watch.

Unable to get past the fact that her high school boyfriend Buddy Slade (Patrick Wilson) just had a baby, Mavis flees her depressing cyclical lifestyle in Minneapolis for her home town of Mercury, Minn. with the intention of winning him back.

Mavis' delusional and deceitful quest to be a home-wrecker proves maddening through much of the film at the slow-burn pace Reitman has dictated, and it becomes obvious that at some point the bubble on her misguided journey will burst into an ugly mess. Yet despite this foreseeable direction, the climax proves stirring and not without a set of surprises.

Adding to the complexity of Mavis reclaiming her past is Matt (Patton Oswalt), a former classmate she barely noticed because they were miles apart on the social spectrum. The two bond over their appreciation for (or dependency on) bourbon, and their relationship allows Theron's character a chance to blow off steam, albeit irresponsibly.

Mavis eventually remembers Matt as the "hate crime kid" because he was brutally beaten to the point of being disabled in high school at the hands of some jocks who thought he was gay. He serves as a strong comparison point for Mavis' high school experience throughout the film. Oswalt's wit also matches well with Cody's style and Matt actually turns into one of the better depictions of a disabled character probably ever. Other than the incident that caused it, we're not asked to sympathize excessively with his condition, nor do Mavis' snarky remarks about it come across as rude.

Cody's dialogue is much more restrained this time around; "Juno" is eons funnier as a result, but the sacrifice of laughs allows us to focus on the film as a character study of a woman who hasn't quite learned how to be an adult. The script's only deficiency comes from a crater- sized hole in Mavis' history. "Young Adult" deserves praise for being a film about living in the past that contains not a single flashback, but knowing more about Mavis' divorce and how she came to break up with Buddy the first time could have significantly informed the story, especially as to why Mavis willfully lives her life as the trainwreck it clearly is.

The film's climax helps a bit in this regard, and Mavis' epiphany avoids being cliché despite the obvious "appreciate what you have" motif. Part of the message oddly suggests that small- town folks lead purposeless lives for the sake of achieving some kind of blissful stasis, but at the same time the idea that all of us are broken people that need to affirm and trudge forward — not backward — with our various blemishes, will surely resonate.

~Steven C

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Without an iota of irony, Charlize Theron finally uses her intimidating beauty for pure Machiavellian evil, and the results are fortuitous in this dark-hued 2011 comedy, the latest collaboration of director Jason Reitman and screenwriter Diablo Cody ("Juno"). She's absolutely spot-on terrific playing Mavis Gary, the condescending, hateful high school girl who comes back to Mercury, her podunk hometown nearly two decades later. Mavis is no Blanche Dubois-type character whose ladylike beauty has faded into a gauzy romantic delusion. No, Mavis is still one hot babe and very much the complete narcissist she was as a teenager, emotionally stunted despite her relative worldliness having moved to Minneapolis to become a ghostwriter of a series of teen novels.

It's not surprising she finds success writing for an adolescent audience since she still defines her life with teenage-level priorities and fantasies. As she has proved with "Juno", Cody is thoroughly fluent with this perspective, but the twist is that this time, it's coming from a jaded 37-year-old woman. Even though Mavis is a divorcée who lives in a high-rise apartment with a toy dog and can easily get any man she wants, she is triggered by a birth announcement email she receives from her high school sweetheart Buddy Slade and becomes fixated on getting him back all these years later. It doesn't matter that he's happily married and perfectly content living in Mercury. She concocts a scheme to make herself so alluring that he will want to run away with her. Normally, this would be an excuse for broad comedy machinations, but Theron is so gorgeous that it makes her shameless attempts at seduction all the more edgily desperate.

It's a narrowly developed plot for sure, but surprisingly, what enriches the proceedings is the unexpected relationship Mavis develops with Matt Freehauf, a sad-sack former classmate whose sole claim to notoriety was being the victim of a hate crime when he was beaten up and left for dead by a group of jocks who assumed he was gay. He has been left crippled, living in Mercury with his sister making his own home-brewed bourbon and putting together mix-and-match action figures. That Mavis and Matt connect is all the more intriguing since they were at opposite ends of the social spectrum back in school, and their present-day bond is also fueled by her obvious alcoholism, a point that is overlooked by her befuddled parents who wish to think of Mavis as the flawless pretty daughter of their own deluded fantasies. The story evolves in the direction you would expect but not before certain revelations come to light in a tortuous scene at the baby-naming party Buddy and his sensible wife Beth have with all their relatives and close friends in attendance.

Beyond Theron's fearless work and intentionally deadpan line delivery, there is comedian Patton Oswalt's surprisingly affecting performance as Matt. I only know him from his recurring role as a comical sad-sack on the sitcom "King of Queens", so it's surprising to see the amount of texture he brings to this role. As Buddy, Patrick Wilson once again plays the sought-after himbo, but this time, his character's unshaven, small-town modesty comes across as more contrite with his character's feelings toward Mavis left quite elliptical. Elizabeth Reaser ("Sweet Land") isn't given that much to do as Beth, probably by intention, but Collette Wolf has a few impactful moments as Matt's insulated sister still idolizing Mavis after all these years. As he showed with "Juno" and "Up in the Air", Reitman shows a deft hand with actors playing flawed characters who try to manipulate their circumstances but fall short of their vaunted expectations.

Late-thirties, hard-drinking writer Mavis Gary has ghost authored several young adult novels, but her life in Minneapolis is hardly stable. Although she escaped her hometown years ago, a brief contact with her old high school boyfriend Buddy Slade (now married and a newborn father) gives her a sudden epiphany that they're truly meant to be together, so on a lark she returns home despite her clear disdain for everything and everyone there. Upon her return, she finds an unexpected confidant in Matt Freehauf, a former high school classmate who was once erroneously the victim of a hate crime. A character study of a character you really wouldn't want to know, this is interesting early on and funny in spots, but the longer it goes on the clearer it becomes that there isn't any real poignancy or insight, nor does there seem to be a true learning curve for the central character. Theron fearlessly brings this deeply flawed protagonist to life, but her toxic personality and delusional single-mindedness make it difficult to accompany her on her journey, and despite some good supporting work from Oswalt it all feels bathed in negativity. **

Greetings again from the darkness. Writer Diablo Cody and Director Jason Reitman reunite for the first time since their breakout hit "Juno". In that fine film, we were treated to many optimistic and sarcastic life lessons from a very likable, and easy to cheer for, teenage girl. This time around we get the caustic, childlike self-centeredness of a mid-30's alcoholic sadly trying to recapture the magic of her high school years as the prom queen dating the coolest guy.

Ms. Cody and Mr. Reitman deserve much credit for steering clear of the Hollywood traditions of redemption, remorse, and turning over a new leaf. In fact, we probably dislike Mavis (Charlize Theron) even more as the movie ends than we did in the film's first 5 minutes, if that's even possible. It takes courage as a filmmaker to have a lead character who is disliked through the entire movie, not just by the people in her life, but also by the audience. It also takes a special actress to pull this off. If you saw Theron in her Oscar winning role in "Monster", believe me when I say that she is equally unsympathetic here ... though she does commit fewer actual crimes.

This film is erroneously marketed as a smart comedy. While there are some funny elements, it's difficult to find much humor in someone who is so unstable and narcissistic. Wisely, the script provides us with Matt (Patton Oswalt) as the voice of reason. He sees through the Mavis mask and speaks directly in his attempts to divert her from her plan. That plan is to break up the marriage of her high school sweetheart (Patrick Wilson). Oh yeah, he just happens to be happily married (Elizabeth Reaser) with a newborn baby.

The best scenes of the film are between Mavis and Matt. She is oblivious to her negative effect on others, while he shoots her straight while avoiding his own harsh reality. See, Matt was the victim of a vicious hate crime, which left his leg (and other things) mangled. His own view of life is why he can see right through Mavis and her issues. While I so admire the basis of the script, I just believe there is a missing element. The element of hope and optimism. Heck, even when Mavis admits she "might be an alcoholic", her parents shrug it off and change topics. Sometimes crying out for help just isn't enough.

The film is worth seeing for the performances of Theron and Oswalt, as well as for the unique script. Just don't get tricked into believing it's some laugh riot with a fairy tale ending. Mavis is a ghost writer for teen novels, and she writes the latest as she lives this nightmare of a trip back home. My only real question ... is she mature enough to write for teens?