Diablo Cody continues to exorcise adolescent demons and Charlize Theron delivers her best performance in years in the dark comedy Young Adult.

As far as morally ambiguous movies go, none have come close in recent times to Young Adult. But then again Diablo Cody has never been a stickler for right/wrong dramatics.

Her Oscar winning script for the now overrated Juno took a skewered approach to teen pregnancy and Young Adult is just as bent in its story of bitter beauty Mavis Gary (Charlize Theron), who returns to her hometown to reclaim her high school love Buddy (Patrick Wilson). The problem is Buddy is married to sweet natured Beth (Elizabeth Reaser) and they have a bouncing baby boy.

Yet such qualms will not stand in Mavis’ way. She views his domestic bliss as domestic hell and will do anything to save him. Cue many cringe worthy moments that are equally funny and disturbing.

This is one wicked, wicked woman. Yet like all monsters, Cody and director Jason Reitman (he who directed the before mentioned Juno) make sure there is a tragedy ridden backstory to explain this disturbing –albeit entertaining-sociopathic behaviour.

It’s a great character piece which Theron takes to with glee, like a lioness gorging on a fresh carcass. Theron has that dour mug down pat and those piercing eyes that burn a hole through the screen. It’s been quite a while since Theron has delivered a performance worthy of her Oscar win, and in Cody’s amorally quirky sensitivities she has found a creative partner who can provide the right kind of character piece.

Other performances also impress. Patton Oswalt delivers a funny and moving supporting turn as the voice of reason to Mavis’ delusions, and Patrick Wilson is his usual solid self as the befuddled target of obsession.    

It makes sense that Reitman would direct Young Adult. Despite the obvious Diablo Cody connection, four films in and it’s clear what type of material Reitman is drawn too: characters works, focusing on an entertaining yet flawed individual, told within the comedy/drama genre.

It’s also clear that the typical rules of the character arc don’t impress Reitman one bit, with every one of his subjects thus far spitting in the face of redemptive conventions. Cody is only happy to oblige with her Mavis stuck within the maturity level of teenager and the foresight to boot.

The decision to do away with any notion of resolution is both a refreshing and frustrating one. Yet such feelings are expected when dealing with the young adult mentality of Diablo Cody.