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Cody stated that when writing the script, she was "simultaneously trying to pay tribute to some of the conventions that we've already seen in horror, yet, at the same time, kind of turn them on their ear". [14] One of her influences from the 1980s horror genre was the film The Lost Boys. She wanted to "honor that, and at the same time, [she] had never really seen this particular subgenre done with girls and [she] tried to do a little of both". [14] Despite this, she said she had noticed that "the last survivor standing in the typical horror film is a woman" and that because of this she feels "horror has always had kind of a feminist angle to it in a weird way and, at the same time, it's kind of delightfully exploitative". Jennifer's Body could play on both of these aspects. [14]

Neumaier, Joe (September 18, 2009). " 'Jennifer's Body': Megan Fox zombie horror satire needs more fleshing out". New York Daily News. Archived from the original on September 22, 2009 . Retrieved September 20, 2009. Machado, Carmen Maria (2022). "Both Ways". In Vallese, Joe (ed.). It Came From the Closet. New York City: The Feminist Press. pp.21–28. ISBN 9781952177798. OCLC 1325677846.

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VanDerWerff, Emily Todd (November 10, 2018). "The life, death, and rebirth of Jennifer's Body, according to screenwriter Diablo Cody". Vox. Archived from the original on May 3, 2019 . Retrieved August 6, 2019. I’m sure that if the film opened today, it would be a sleeper hit,” said Horror Geek Life in February. “As it is, one day they’ll be teaching it at the intersections of cinema studies, film theory, and women’s studies.” Friday Estimates: Meatballs And Informant Do Well, Jennifer's Body And Love Happens Don't". The Box Office Junkie. September 19, 2009. Archived from the original on September 26, 2009. Nine years later, the tables have turned. Now, Jennifer’s Body shows up on New York Times lists of great horror movies directed by women. The Telegraph thinks it’s Cody’s “oddest and most intriguing work.” Syfy Wire has declared it “still socially relevant.”

The film is filled with instances that tell us there is more than friendship between Jennifer and Needy. From one of the first scenes of the movie, when the two girls are called "totally lesbigay", to Jennifer's iconic line in a climactic scene, "I go both ways", to memories of the two playing "boyfriend and girlfriend" as children, Jennifer's Body establishes itself as a bisexual piece of cinema. The novel features less of Jennifer than the film, but does capture her "going in for the kill" several times. It focuses heavily on following her soon-to-be victims and provides information on their personalities not elaborated on in the film so that readers can better conclude whether the boys deserved to be murdered. The novel consists of four chapters, with a prologue and an epilogue, with art provided for each by different artists. Each one follows a different boy and what is happening in his life just before Jennifer kills him. [72] Chavez, Kellvin (January 8, 2008). "Exclusive: Jennifer's Body Story Details". Latinoreview.com. Archived from the original on January 19, 2008 . Retrieved February 11, 2008. Despite the best efforts of its cast, the writing in Jennifer's Body is one of several problems which prevent the film from fulfilling its potential. Cody is a talented screenwriter, as Juno demonstrated, but this time around her characters begin to blend together with very samey dialogue. When Mark Kermode reviewed the film, he remarked that Cody was in danger of becoming "the female Quentin Tarantino", namely writing dialogue in such a way that all her characters sound the same. It's not so bad that it runs the film into the ground, but having all one's characters as spiky and hipsterish isn't a good way to go.

The film has seen a resurgence in recent years, but it's the popularity it garnered inside the LGBTQ+ community that propelled its cult status. People who have found this film more than 10 years after its release have discovered a new story in it, freed from the rhetoric of its marketing campaign and the reading that critics gave it. A whole new generation of queer women can now see themselves in the characters of Needy and Jennifer in a way that few other films allowed in 2009 – or still allow even today.