Amanda Seyfried Tagged Articles at Cinematical

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It's time for The Notebook fans to grab a box of tissues and plan for their Februaries and romance-filled Valentine's Day dates. Cinematical has just received this exclusive snuggle-centric poster for Dear John, which just so happens to be the latest adaptation from Notebook scribe Nicholas Sparks. Directed by Lasse Hallström (helmer behind The Cider House Rules) Dear John stars Channing Tatum and Amanda Seyfried, and will be hitting screens on February 5.

This time around, Sparks' story focuses on a soldier home on leave (Tatum), and the "idealistic college student" he falls for during her Spring vacation (Seyfried). Over the course of seven years, they must face his increasingly dangerous deployments, seeing each other face-to-face rarely, but keeping the affair alive through overseas love letters that "eventually triggers fateful consequences." War movies might be the sore vein to tap in Hollywood, but something tells me this flick will fly free of those restraints.

Check out the full poster by clicking the image below.

We know she has breasts, though the unveiling of their full bared glory remains, teasingly, for the future. We know she likes to kiss boys and girls. We know she has a face to die for, as several unlucky victims discovered this weekend in Jennifer's Body. But can Megan Fox act?

Cast in her first lead role as iconic small-town cheerleader Jennifer, Fox certainly sashays well. As directed by Karyn Kusama, Fox looks terrific in slow motion, walking down a high school hallway like it was a catwalk, or emerging from a refreshing skinny dip, smiling secretly because she knows all eyes are upon her. Her lips and tongue look very kissable in extreme close-up. Even when she looks "bad," it's still better than most could hope for, as her ostensible BFF Needy (Amanda Seyfried) observes. When called upon to emote, however, Fox says lines -- scripted by Oscar-winner Diablo Cody -- without any deep conviction or sincerity, as though she were a TV spokesperson introducing a commercial break: "We'll be right back after these important messages!" Even when her character is involved in life-and-death struggles, she comes across as breathy and vapid, drawing less upon her soul and more upon presenting her best angle to the camera. I think her co-star Amanda Seyfried blows her off the screen.

But that's just my opinion. (Cinematical's Jenni Miller has a different opinion of the movie, while our reviewer Todd Gilchrist called her "fanboy catnip," which seems about right.) What do you think? Can Megan Fox act her way out of a paper bag? Or has she just gotten an unfair rap because of her beauty and outspoken behavior? Vote in our poll and sound off in the comments!

A few weeks ago, I asked "Will Chicks Dig Jennifer's Body?" and the responses were mixed. Unfortunately for fans of the movie (like myself), its opening weekend box office results were equally mixed, with JB bringing in $6.8M, putting it in fifth place, right behind the execrable and boring Love Happens.

Plenty of people have immediately written off the movie because they loathe Diablo Cody or Megan Fox. Fox is an especially contentious figure among women because she's young, she's hot, and she's as eager to be "exploited" by the Hollywood machine as she is to give it the middle finger. And Diablo Cody, well... As the talented and smart Karyn Kusama, director of Jennifer's Body said in an interview with Cinematical's Todd Gilchrist, "I feel like the issue of [Cody's] voice being strong and people having a problem with it is very interesting to me because I think there are plenty of writers whose work generates that discussion. I have just never heard Quentin Tarantino or David Mamet or Shane Black be called a whore in people's blogs; I am shocked sometimes by the vitriol."

The cycle of slavering adoration and vicious backlash Cody has been the subject of since she was the Next Big Thing with her book Candy Girl makes my head spin, and if I were her, I'd have hocked my Oscar and headed for the hills long ago. But she hasn't, and thank goodness for that because Jennifer's Body is the coolest, weirdest thing to happen to women in horror (and the women who love horror) in a long time.

Just by virtue of her gender, Karyn Kusama is considered a feminist director; while the subject matter of her three films has certainly revolved around strong and interesting women, however, their stories certainly transcend the condescending and reductive designation of being called "women's movies." This is especially true of her latest, Jennifer's Body, which is an examination of teenage female sexuality that should certainly have considerable mainstream (i.e. male) appeal thanks to the person playing the body in question, Megan Fox.

Cinematical recently sat down with Kusama to talk about her career, the themes that have run recurrent in her movies, the impact of studio politics and feedback on her films, and how much she thinks her gender plays a role in career and the creative choices she makes. (Make sure to check out Part One of this interview, where she discusses her collaborations with Megan Fox and Diablo Cody, and gives fans a first-person account of the film's infamous make-out session between Fox and co-star Amanda Seyfried.)

Cinematical: Were there any specific elements of the different relationships, both personally and socially, in the film that you knew you wanted to explore or examine? There's the interaction of the two girls with one another, and Jennifer with her victims, but there's also the idea of this being a sort of monstrous version of teenage girls exploring their sexuality.

There's a sort of amazing nexus of visibility that Jennifer's Body is enjoying as it moves towards its opening day: men and women alike are obsessed with any- and everything Megan Fox does, and critics and audiences are curious to see how successfully Diablo Cody will follow-up her Oscar-winning script for Juno. Meanwhile, director Karyn Kusama bears the burden not only of shepherding the result of their efforts and the test for those expectations into theaters, but is in herself in search of a project that can both fulfill and overcome the preconceptions of viewers familiar with her two previous films, the acclaimed independent film Girlfight and the decidedly less-acclaimed studio opus Aeon Flux.

Cinematical recently sat down with Kusama for an epic conversation about her latest film, Jennifer's Body. In addition to discussing the project's origins and inspirations, she talked about tapping into expectations without acquiescing to them, examined the high-profile careers of her collaborators, and offered a few insights into her own creative process. (Check back tomorrow for part two, which further delves into her own feelings about the film's themes and her execution of its ideas.)

Cinematical: How did you process Diablo's writing style when you were directing and maybe even editing? Because she was kind of an unknown quantity when you started working on this but now she obviously has a style that polarizes audiences.

The name of the cinematic game is believing what happens on the big screen, and suspending belief when necessary. It's a particular and difficult game -- one that is, of course, pulled off with varying degrees of success. One person's perfectly natural action is another person's highly irregular one, and there's no set line for what will be stomached, accepted, and believed. In the case of Atom Egoyan's erotic thriller Chloe, Amanda Seyfried, Julianne Moore, Max Thieriot, and Liam Neeson toe the line of believability as they sail through the sticky waters of romantic discontent and mistrust.

Seyfried is Chloe, a young prostitute well-versed in the finer points of subterfuge -- embodying everything her clients dream. And Moore is Catherine, a successful gynaecologist -- the established professional, mother, and aging woman desperately wishing for the lust-filled attentions that her husband David (Neeson) used to heap on her. After he avoids her on his birthday, "missing" a plane (and subsequently a surprise party), she becomes wary. And when he continues to flirt with every young woman he meets, Catherine becomes convinced that he is cheating.

What is Jennifer's Body, and what is it supposed to be about? I don't know, and the film doesn't seem to, either: It's not really a horror movie, because those are usually scary. Nor is it smart or self-aware enough to be a treatise on teenage girls or male fears of female sexuality. And it's not even a swing-for-the-fences, spectacular enough failure to be a death knell or even deconstruction of the severely limited appeal of either its star, Megan Fox, or its screenwriter, Diablo Cody. Jennifer's Body substitutes hipster credibility for emotional currency, confuses pop-psychology insight with substantive social commentary, and measures terror on a scale that ranges from the word boo to a dead spider; in short, Jennifer's Body just does not work.

Fox plays Jennifer, a sexpot alpha female who mercilessly presides over the boys in her high school, but only has affection for her childhood friend Needy (Amanda Seyfried). After the two of them narrowly escape a fire while attending the concert of an up-and-coming band, Jennifer takes off to parts unknown in the lead singer's tour van, only to turn up later that night ravenously hungry in Needy's kitchen, covered in blood and God knows what else. It turns out that Jennifer has been mysteriously turned into a literal man-eater, and subsequently decides that her male classmates will serve as a more than suitable smorgasbord for her feasting pleasure. But when the homicidal homecoming queen decides that Needy's boyfriend Chip (Johnny Simmons) is next on the menu, her mousy friend musters all of her own inner strength and decides to take Jennifer down a peg or two, even if it comes at the expense of their friendship, or even their lives.

Diablo Cody has been popping up on magazine covers in anticipation of her upcoming horror flick, Jennifer's Body. So far she's hit BUST Magazine's August/September issue, and the September issue of INKED, and of course there will be plenty of Ms. Cody to go around at this year's Toronto Film Festival, where Jennifer's Body will have its world premiere.

Jennifer's Body is a unique beast because it was written and directed by women, with Cody behind the script and Girlfight's Karyn Kusama directing. Cody is also the executive producer. Naturally, Cody has plenty to say about Jennifer's Body and how it relates to women – and feminism – in the latest issue of BUST. A brief excerpt is as follows:

"It's really about girl-on-girl crime. It's Mean Girls taken to an extreme. When the alpha girl becomes cannibal-like, nitpicking is no longer enough. Now she literally has to consume flesh." (p. 40)

Later the self-professed feminist says, "The movie also references eating disorders. Jennifer's eating habits revolve around a binge-purge cycle... She actually throws up before she eats. She's possessed. She vomits disgusting black bile on her victims before she eats them. But in one of my favorite scenes, she's binge-eating out of her refrigerator. I thought to myself, 'Man, if we aren't getting it across...' I was happy about that." (p. 43)

Be still my Shakespearian heart. Yes, I've written about ol' Will a lot lately, and now it's time for more, although with this round, the Bard is providing the inspiration rather than the story. Variety reports that Amanda Seyfried, Vanessa Redgrave, Gael Garcia Bernal, and Franco Nero will star in Letters to Juliet, an adaptation of Lise and Ceil Friedman's book. (Not to be confused with this Juliet-inspired project.)

Riffing on the book, which talks about Verona and the multitude of people who write letters to Juliet in care of the city, the story will follow a couple (Seyfriend and Garcia Bernal) who vacation in Italy and mistakenly get one of these letters. Written by Redgrave's character, the letter recounts her memories of being romanced during a trip to the country long ago. Inspired, Seyfried heads to Tuscany to find the woman's lost love (Nero). Man, she likes playing Cupid. Anyone want to make bets about how long it will take for her to star in a film AS Cupid?

The project was adapted by Jose Rivera (Motorcycle Diaries and the upcoming On the Road) and Tim Sullivan, and will be directed by Gary Winick, the man behind Tadpole, 13 Going on 30, Charlotte's Web, and Bride Wars. I'm not sure what that will mean for this film -- fluffy romance, something more gritty, a little bit of both? -- but I do like the idea. Production begins in Italy on June 25.