Even as the film revels in violent delights, the dialogue keeps everything grounded in humor.
There’s a newfound depth to the way Diablo Cody conveys the myriad pressures that plague her protagonist.
Director Jonathan Demme grasps the well of feeling of Diablo Cody’s script and eventually harnesses it in his own image.
Luckily for Tom Kitt, he was in his dorm room when opportunity knocked.
The film smartly avoids the sort of cynical hijinks that characterize the majority of Vegas-set flicks, though it can’t come up with anything more compelling to place in its stead.
People who’ve already convinced themselves of Reitman and Diablo Cody’s genius should appreciate Young Adult.
This category is historically a haven for the quirk, verve, and humor that can’t quite crack the tougher races.
With Young Adult, her third feature as screenwriter, Diablo Cody constructs a woman out of pieces of herself.
Is that Coke or a 40 dangling from Charlize’s fingers? What might a Pomeranian have to do with all this?
Martin Scorsese’s usual lack of restraint works nicely throughout Shutter Island.
After a long day at the Toronto Film Festival, Diablo Cody called me up to talk about the movie and her continuing efforts to process unexpected fame.
The film is on shaky ground when trying to adopt slasher conventions, and less so when adhering to traditional body-horror tropes.
The United States of Tara is an interesting misfire for a network that seems dedicated to making interesting misfires.
Only at the end does Juno actually work as a film and not merely as an acting/writing showcase.
Juno has a fumbling start and an affecting delivery.