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A tart Mattias Ekholm Olympics Jersey , abrasive character study of a seriously messed up writer who pens a twisted new episode to her own life, the pungent Young Adult feels like a chapter in what by rights should be a longer film or novel. As if deliberately setting out to make something less warm and friendly than his genial first three features, Jason Reitman reunites here with his Juno cohort Diablo Cody on a smartly observed, well acted but narrowly conceived story about a deluded author of teen novels who plots to win back her high school boyfriend, who鈥檚 now a happily married dad.


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Deftly done in every respect, this Paramount release, which oddly bypassed the fall festival circuit, is much closer in feel to an indie-style film than to a major studio production Jacob Markstrom Olympics Jersey , making it a curious choice for a Christmas launch. Okay commercial results look likely.


Entirely avoiding the sort of trademark showy dialogue that made her name on Juno, Cody most distinguishes herself here by creating two unusual characters of a kind rarely seen front and center in a mainstream film. The first is Mavis Gary (Charlize Theron), a stunning woman who will be 40 before long, still hasn鈥檛 gotten her life together and would be considered, by most reckonings, a condescending, first-class bitch.


Living alone in a messy high-rise apartment in downtown Minneapolis, Mavis has been ghostwriting entries for an adolescent novel series for years Henrik Lundqvist Olympics Jersey , although this looks to be winding down. She鈥檚 a divorcee who can get guys when she wants but, when the excuse arrives to return to her small Minnesota hometown, she concocts a scheme to reclaim the glory that was hers as a teenager by luring away her high school boyfriend, Buddy (Patrick Wilson), no matter that the first time she sees him on her visit, he鈥檚 got a breast milk pump in hand.


Dolled up or not, Mavis is still a knockout, perceived by locals as a glamorous success who hasn鈥檛 changed at all since school days. She loathes the banality of the town and part of the early-stage humor stems from the dressed-to-kill Mavis having to frequent chicken-and-ribs-type sports bar restaurants Robin Lehner Olympics Jersey , the best the town has to offer. Despite her relative worldliness, Mavis is still an emotionally immature adolescent, with teenage priorities, prejudices and fantasies.


The second character of note, even more unusual, is Matt Freehauf (Patton Oswalt), a former high school classmate to whom she says, upon encountering him in a bar Alexander Steen Sweden Jersey , 鈥淵ou鈥檙e the hate crime guy!鈥?A caustic sad sack with a chip on his shoulder as large as Mavis鈥?sense of superiority, Matt relates how he was bullied and ultimately beaten up and left for dead by a bunch of jocks because they thought he was gay. The irony, he says, is that he isn鈥檛 gay but, since then, he hasn鈥檛 been good for much of anything, in that he鈥檚 permanently crippled and bent out of shape, physically and mentally.


Here Henrik Zetterberg Sweden Jersey , then, are the polar opposites of the high school experience, the babe with the highest self-esteem and the shlub with the lowest, both of whom remain emotionally stunted, basically where they were 20 years before. Such characters 鈥?the snooty mean queen and the razzed geek 鈥?are staples of teen pictures but are rarely seen as older people still carrying the same baggage. These two had nothing in common back then but now can really talk because they get one another and are willing to be frank; he calls her on her b.s. and she accuses him of using his disabilities as an excuse for doing nothing. Their scenes together are the film鈥檚 best, with Theron and Oswalt, who have very different tempi and temperatures as performers, parrying and thrusting with great expertise.


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The way Mavis behaves with Buddy Rickard Rakell Sweden Jersey , somebody should dub her shameless Mavis. Meeting his nice wife Beth (Elisabeth Reaser), Mavis goes on about how she and Buddy used to be together; alone with him, she recalls how great things were in the old days and acts as though there鈥檚 no reason why they shouldn鈥檛 pick up where they left off. Buddy just sort of smiles uncomfortably through it all to be nice, which only leaves the door wider open for Mavis to keep pushing her increasingly misguided agenda.


Aggravating an already bad situation is her alcoholism. 鈥淒o you want to get loaded or something?鈥?p>

Mavis demands of Matt after one of her 鈥渄ates鈥?with Buddy, which is par for the course with her. There have undoubtedly been many times in the past when men have been very happy to hear her say something like this and there鈥檚 no question she鈥檚 lively, provocative company when she鈥檚 had a couple of belts. But Mavis doesn鈥檛 know when to stop, so it鈥檚 only after she completely embarrasses herself in a petulant, self-pitying public rant Carl Soderberg Sweden Jersey , that she has something like an epiphany that might help point the way for her to move forward.


On a scene-by-scene basis, Young Adult entirely engages with its smart exchanges between characters who are well equipped with rough edges and raw nerves. Mavis and Matt undergo some key life changes as well, providing some dramatic movement. But the plot, such as it is, has a very short arc and almost exclusively consists of charting Mavis鈥檚 strategy for luring Buddy back; there are no subplots or side excursions, just the surprising bonding that occurs between Mavis and Matt. The result is an impression of vibrant character sketches rather than of full-bodied drama with depth and complexity, of two characters, specifically Jakob Silfverberg Sweden Jersey , who could easily warrant far more extensive treatment, so acutely and specifically drawn are they.


Of the supporting characters, the only particularly interesting one is Matt鈥檚 sister Sandra (a very good Collette Wolfe), a plain woman who, living with her brother, has no life, has always idolized Mavis and inadvertently makes some comments that alter the course of things.


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