The initial reception of Karyn Kusama's 2009 horror film, "Jennifer's Body" was marred by a confluence of factors that obscured its feminist themes and subversive approach to horror tropes. The film's marketing campaign, which emphasized Megan Fox's sex appeal rather than the narrative's complexity, perhaps influenced by the film's title, contributed to a misalignment between audience expectations and the film's actual content. This misdirection, coupled with prevailing cultural attitudes towards Fox and screenwriter Diablo Cody, led to a superficial interpretation of the film upon its release. Critics largely failed to recognize the film's nuanced exploration of female relationships, sexuality, and power dynamics, instead dismissing it as a shallow attempt at horror comedy. 

However, in the years following its release, and particularly in the wake of the #MeToo movement, “Jennifer's Body” has undergone a critical reevaluation. Scholars and critics have come to appreciate its prescient commentary on sexual assault, toxic friendships, and the weaponization of female sexuality against patriarchal structures. This shift in perception highlights the qualities of the film as being ahead of its time and underscores the importance of contextual factors in shaping the critical reception of feminist cinema. The film has not only gained a notable cult following, but it has also made a significant impact on contemporary cinema, particularly within the LGBTQ+ community. 

Largely due to its innovative and subversive take on female sexuality and its insightful exploration of feminist themes. The film centers on the story of Jennifer (Megan Fox), a seemingly typical high school cheerleader who undergoes a chilling transformation into a succubus following a satanic ritual that goes horribly awry. The narrative also focuses on her best friend, Needy (Amanda Seyfried), who must face the terrifying change in Jennifer and grapple with her monstrous new identity.

Through its clever manipulation of classic horror tropes and its thoughtful application of the concept of the "monstrous feminine," "Jennifer's Body" offers a thought-provoking and often unsettling commentary on the objectification of women and the vilification of female sexuality within a patriarchal society. It sheds a harsh light on the societal norms that perpetuate these damaging views and, in doing so, invites viewers to question and challenge these norms. In its nuanced portrayal of the "monstrous feminine," "Jennifer's Body" goes beyond the surface-level scares typically associated with the horror genre. It uses this powerful trope to delve deeper into societal fears around female sexuality and the ways in which these fears are used to subjugate and control women. The film not only deconstructs these fears but also seeks to reclaim female sexuality as a source of empowerment and agency for women. 

By subverting traditional horror conventions, like the helpless female victim or the male-dominated narrative, and challenging the male gaze, the film presents a feminist critique of patriarchal structures. These structures, which often seek to demonize and control female desire, are exposed and critiqued through the narrative and visual choices of the film. The result is a horror film that is both entertaining and enlightening, offering viewers a fresh perspective on familiar genre conventions while making a strong statement about the power and autonomy of women. Barbara Creed's concept of the "monstrous feminine" is rooted in psychoanalysis and feminist film theory, suggesting that women are often portrayed in horror as monstrous, abject figures that challenge patriarchal norms. In her seminal work, “The Monstrous-Feminine: Film, Feminism, Psychoanalysis”, Creed outlines how these portrayals reflect societal anxieties about female power and sexuality. Julia Kristeva's theory of abjection further explores how the monstrous feminine embodies societal fears and is cast out as 'other' due to its perceived threat to patriarchal order.

In "Jennifer's Body," Jennifer's transformation into a succubus exemplifies the embodiment of the monstrous feminine. Initially depicted as the epitome of teenage beauty and desirability, Jennifer undergoes a radical change after a botched ritual by a rock band seeking fame. Her transformation from a popular girl to a literal man-eater disrupts the traditional narrative of female victimization in horror. Instead of being a passive object of male desire, Jennifer becomes an active agent of horror, preying on men in her community. Scenes where Jennifer displays her newfound powers, such as the seduction and subsequent devouring of boys, highlight the film's critique of societal norms that demonize female sexual agency. Through her actions, Jennifer challenges the conventional roles assigned to women in horror as either victims or villains whose motives are typically tied to male validation or vengeance.

Laura Mulvey's theory of the male gaze, articulated in her essay "Visual Pleasure and Narrative Cinema," posits that cinema traditionally operates from a male perspective, objectifying women for the pleasure of the male viewer. In "Jennifer's Body," Kusama subverts this gaze by presenting Jennifer's sexuality not as a passive object of desire but as a powerful force that disrupts and challenges patriarchal control. Throughout the film, Jennifer's interactions with male characters are characterized by a reversal of power dynamics. Instead of being objectified, Jennifer actively asserts her own desires and agency, often with fatal consequences for those who underestimate or attempt to control her. This subversion is crucial in the context of horror, where female characters are typically punished for expressing or embodying sexual agency. An example of this subversion can be seen in the scene where Jennifer seduces and then consumes Colin, a character who initially objectifies her for his own gain. The sequence not only showcases Jennifer's agency but also serves as a critique of the objectification and exploitation of women's bodies in both horror and broader media.

"Jennifer's Body" stands out not only for its feminist critique but also for its exploration of queer desire and representation. The film portrays the deep emotional bond between Jennifer and Needy, which transcends traditional notions of friendship and hints at a more complex, potentially romantic relationship. While the film's marketing initially emphasized Jennifer's sex appeal for a predominantly male audience, its narrative and character dynamics suggest a more nuanced portrayal of female relationships and desires. The representation of queer desire in "Jennifer's Body" challenges heteronormative expectations, contributing to the film's critiques during its initial release and expanding the film's appeal beyond its initial demographic. Through the lens of Needy's perspective, the audience witnesses her admiration and conflict towards Jennifer, blending themes of envy, desire, and protection in a way that defies simplistic categorization. The film's impact on queer fandom spaces underscores its resonance with audiences seeking diverse and inclusive narratives. Discussions and analyses within these spaces often highlight how "Jennifer's Body" provides a platform for exploring themes of identity, agency, and empowerment through a queer lens .

"Jennifer's Body" emerges as a significant contribution to feminist horror cinema by challenging conventional tropes and narratives that undermine female agency and sexuality. Through the lens of the monstrous feminine, the film critiques patriarchal structures and offers a compelling narrative that empowers its female characters. Its impact on audiences, particularly within LGBTQ+ communities, underscores the importance of diverse and inclusive storytelling in challenging dominant cultural narratives. By subverting the male gaze and embracing queer themes, Karyn Kusama's film not only entertains but also provokes critical reflection on the representation of women in horror and mainstream media. The enduring legacy of "Jennifer's Body" lies in its ability to elicit discussions on feminism, sexuality, and representation in cinema. Unfortunately, Kusama’s film didn’t subject Megan Fox to the continuation of her over-sexualization as an actress in the industry, but that is a different topic for a different time.