Pszichoszingli

Elég unalmas FILM egyedülálló MILF-ek számára ahhoz képest, milyen nevekhez kapcsolódik. Charlize-t (ismét) rohadtul jó nézni, és szórakoztató megismerni a karakterét, amely - a választottjával, Patrick Wilsonnal való interakciójával együtt - a film motorja. De a szereplőkkel abban a városban, ahová a "nagyvilágból és a sikerből" visszatérnek, a második félidőben bizonyára ki lehetett volna játszani egy érdekesebb, többrétegű kapcsolati történetet, ami gazdagabbá tette volna a fő témát. A film legjobb és tulajdonképpen egyetlen emlékezetes jelenete (ünnepség) is olyan banális történetet csinál belőle, amit a filmtől nem várnánk, "mert biztos van még valami más is". (2020.04.14)

Reitman chose a direction opposite that of his role model Alexander Payne, who in The Descendants tried to find out how much conciliation towards the characters the audience could tolerate before coming back down to earth after flying safely in the clouds. Though Young Adult is wrapped up in the same neatness, it certainly doesn’t gloss anything over or conceal the fact that life is sometimes ugly, that it includes lying, frustration, cynicism, breast enhancers and stretched-out Hello Kitty pyjamas in addition to nice and pleasant things. In the film, Mavis Gary, an author of books for young adults (the level of mental maturity at which she confined herself), sets out to reclaim what she considers to be her property. Her crusade actually has more in common with an escape from a future that terrifies her and a present that, despite all of her efforts, she can’t seem to get away from. The goal is clear but rather atypical for the protagonist of an American tragicomedy: she wants to break up the marriage of her ex-boyfriend, the only man with whom – as she convinces herself – she was ever happy. Amoral behaviour, leading to the contempt of others, helps Mavis to overcome a creative block, thus separating the professional and personal storylines, whose resolutions are otherwise tightly intertwined. Mavis is egocentric, irresponsible, callous and infected with consumerism, and she does not appreciate what she has achieved. Her poorly disguised shortcomings are laid bare by the benevolence of the characters around her, who don’t own much of anything, but at least they outwardly appear to be content. Despite all her bitchiness, Mavis deserves some sympathy, since we don’t have anyone else to give it to and her behaviour is authentic. The fact that she does something wrong and is far from being right about everything makes her the easiest character to identify with, which strikes me as an act of endearing subversion on the part of the director and screenwriter. The same can be said of the cheesy style of literature for teenagers used in the voice-over. The question of where stylisation ends and the author’s reflection on her own inner self begins is wisely left open, thanks to which the conclusion defies unambiguous interpretation. Young Adult, which in many ways is more mature and truthful than Juno, had to redeem its causticness by suppressing its likability and thus reducing its audience appeal and commercial potential. Despite that, I hope Reitman and Cody’s collaboration does not end here and I am curious as to the direction it will take. 80% (2016.05.29)

Charlize Theron was great here, I have to give her that. But Jason Reitman disappointed me a lot with this film. It wasn’t much fun, it was rather serious. When I realize what the story was about, I don’t remember any comedic moment that would stand out. Rather a cruel reality and the life of a devastated girl who returned to reality. Charlize is coming home after many years and she thinks everybody will shit their pants because of her. Well, they won’t and they even give her hell. The open ending, however, suggested that it’s not the end of the world, and that you must keep going forward even despite your personal screw-ups and defeats. (2013.08.15)

The weakest Jason Reitman film I've seen so far. But still much better than many others who try to say the same thing and fail for various reasons. Young Adult doesn't have much in common with comedy, which surprised me at first, given the director's previous efforts, where bursting into laughter was no problem at all. But what the script took away from the humor, it added to the drama. And that is good. The film is really depressing in places, but I am not one of those who is bothered by the main (well acted) character. I felt extremely sorry for the poor woman in the first, second and third row. Sad, but really "as in life". Could that be why? (2013.12.15)

One of those films I find hard to evaluate as I like it and dislike it at the same time. The film’s positives include Charlize Theron, a depressing atmosphere at the beginning, and the disabled weirdo with a garage distillery. The negatives include a gradual loss of the depressing atmosphere, an ugly dog, and the realization that I didn’t know what the point of the film was once it was over. (2016.08.12)

Watching an hour and a half of a drunk Charlize Theron, who is also extremely annoying and wacky here – is something you just don't want to do. The reason Reitman and Cody worked their way up to that 2 stars for me was ultimately because I was oddly interested to see how the whole thing would turn out and if it could get any worse. In fact, the worst part is that after watching Young Adult, I started to like just about all the villagers in the world. Mavis seemed like the prototype of the ultimate bitch. If there are any emotions in this creative despair, they are bad, primal, and terribly cheap. In fact, the whole thing reminded me remotely of Woody Allen. After a triple dose of electric shocks, a similarly romantic story would have presented a creative challenge for him. (2019.02.10)