Juno Review

"Juno" reviews

Movie

Juno

Author

anonymous

Date reviewed

2009-08-24 21:02:02

Rating

3.5/5

Provider

CinemaSource

Review

"One of the year's best" has been used a lot lately, but Juno is just that. The punky yet tender dramedy has it all, including arguably the most promising actress, writer and director.

Story

Juno pulls no tricks, opening with teenage sex that leads to pregnancy, which would be a shocking climax for most movies. And Juno (Ellen Page) pulls no punches: The offbeat Minnesota teen and unexpectedly expectant mother simply cannot bite her acidic tongue. But as Juno comes to terms with her pregnancy, she softens. The terms of her pregnancy—that is, after deciding against "procuring a hasty abortion"—are that she will give her newborn to a baby-deprived married couple, Vanessa (Jennifer Garner) and Mark (Jason Bateman), from upscale suburbia. And helping Juno come to said terms are her father (J.K. Simmons), stepmom (Allison Janney), best friend (Olivia Thirlby) and, from a distance, the dad-to-be, Paulie Bleeker (Michael Cera), who himself doesn't look too far removed from infanthood. But Juno soon discovers that these nine months won't pass by without physical and emotional pain—pain for which her icy-exterior defense mechanism is no match—and that some grown-ups still want to be children.

Acting

Twenty-year-old Ellen Page (Hard Candy) is an age chameleon as the title character: Physically, she passes for Juno's age of 16 with ease, and whether Juno acts like a late-'70s/-punk-era throwback or a plain old 21st century teen, Page has no problem. But it's her range of emotion as Juno that is most impressive. Page first endears you with her ability to shoot off quick, rhythmic sarcasm at an astonishing rate—she's hilarious, if initially a tad sitcom-y; it's her vulnerability as the movie progresses, however, that is even more endearing and will move you beyond what you thought possible given the way Juno begins. Such an amazing yet believable transformation is what makes this possibly the year's best performance from an actress (even the Academy might be forced to agree). There's a major drop-off in screen time for the other actors, but not in quality. Neo-geek god Cera (Superbad) understands what makes comedy funny as well as anybody, but he throws the occasional, and totally effective, curveball at us with scenes of tenderness; Garner, in true "Who knew?" fashion, gives a superbly delicate, against-type performance; Bateman, reuniting with his Arrested Development son Cera and The Kingdom costar Garner, is typically flawless in his small but crucial role; and Simmons (HBO's Oz) and Janney are pleasant surprises, casting-wise, as Juno's free-spirited voices of reason.

Direction

Even if you knew nothing of Juno going in, it's easy to pick up on the fact that the movie's voice is unlike any you've heard in a while—it's totally fresh, in every sense of the word. That's because a brand new writer, Diablo Cody, and a new-ish director, Jason Reitman (Thank You for Smoking), are the brains behind the operation. Cody, whose past as a Minnesota stripper has been well documented/exploited, is most responsible for the greatness that is Juno. It's one of the best debut scripts in recent memory, fearless for refusing to conform where other first-timers err on the side of conservatism. Cody doesn't just elect not to go the conventional route; she gives it the finger! At the same time, Cody is unconcerned with maintaining the movie's sheer coolness, as evidenced by Juno's soft-around-the-edges second half. And then there's Reitman, who sits back and lets the writer work her untapped magic—to a certain extent. Where the sophomore director shines is not just visually and audibly (the best soundtrack of the year features Moldy Peaches and lead singer Kimya Dawson quite prominently, as well as Belle and Sebastian, Cat Power and others), but tonally. He weaves Cody's superb script, which could've taken a completely different turn in the hands of another director, into a simultaneously upbeat and downbeat near masterpiece. Reitman also plays no small part in the incredible performances turned in by the cast.

Bottom Line

Hollywood.com rated this film 3 1/2 stars.

Movie

Juno

Author

anonymous

Date reviewed

2008-02-01 19:42:45

Provider

Review

Teenage pregnancy may not be everyone's idea of a mainstream friendly subject for a film, but Juno has already sailed past the $100 million mark at the US box office.

At first glance Juno looks to be an edgy alternative to your typical feel good fodder but, like fellow indie crossover hit Little Miss Sunshine, they both have one eye on the multiplex crowd.

It's a sweet undemanding comedy that keeps the laughs coming and, despite its subject matter, the atmosphere light. Juno may be a pregnant high school girl in the mid-West but she just so happens to have family and friends who not only judge her but happily go along with her plan to giver her baby up for adoption to a seemingly perfect couple.

Those wannabe parents are uptight. Vanessa (Jennifer Garner) and Mark (Jason Bateman) - the former is desperate to be a mother while Mark just wants his life to be like it was when he was in his early twenties - watching films and dreaming of being a rock star.

The weakest element of Juno is her relationship with Mark - which hints at one thing and then quickly fizzles out as soon as it starts to become interesting. Its inclusion would be a mystery if it wasn't for the fact that it gives first time screenwriter Diablo Cody a chance to indulge in her love of pop culture. They lovingly talk of obscure movies and bands they like and don't like which is pure indulgence on the part of the screenwriter.

It's one thing to have a writer's personality come through in a film, it's another for her voice to be imprinted so forcefully. Juno not only speaks like how a thirty-year-old wished she had after a fourteen year ponder, but she also talks about TV shows no teenager nowadays would even have heard about.

Luckily, the film has a secret weapon in Page. Even in the script's weaker moments, the forcefulness of her performance wins out and the rest of the film coasts on her star making turn.