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Juno, helmed by Jason Reitman, director of the excellent Thank You for Smoking, dictates the emotional peaks and troughs of Juno (Ellen Page), a 16-year old girl who suddenly discovers that she is pregnant by her friend, Paulie Bleaker (Michael Cera). Think a slightly edgier version of Knocked Up, given the age of the pregnant person, and you’re right on the money.
The film assumes unto itself a certain “hipness” from the outset – the seemingly rotoscoped (or some equally impressive visual effect) opening credits are accompanied by a rather catchy little tune, although as with many songs from the “indie” genre (and subsequently, most songs from this film’s soundtrack), it is very hit and miss, and moreover, very much “love it or hate it”. Nevertheless, whether you appreciate the aural aspects, at least artistically, the film must be commended – it is a crisp and snappy picture.
What is most striking once the film truly gets underway is its dialogue form – it is highly unnatural, and whilst it is without doubt well-written, to hear such verbiage spew from the mouth of a 16-year old seems forced, overly precocious, and even a little annoying.
The film makes nice in not wasting its rather short running time – Juno soon lets the father, Bleaker, know of his impending fatherhood, and the moments such as this in which the film slows down, opting for simpler dialogue, are among the film’s best.
One of the film’s more memorable scenes also involves Juno gently breaking to her father (J.K. Simmons) that she is pregnant. It is a scene of great, restrained hilarity, highlighting the importance of the many great supporting performances within the film, ranging from the obvious, such as Jason Bateman (as one of Juno’s prospective adopters), and the less obvious, such as Rainn Wilson, from Six Feet Under and The Office (US) fame. Whilst none of these performances are surprising in their quality, Jennifer Garner as the wife of Bateman’s character certainly is – Garner not only radiates, but pulls off a career best by a considerable margin.
After initially making Bleaker privy to his siring a child, he is kept out of sight for a considerable period of time before we ever truly learn his emotional stance on what is before him. The little that is clear is that he, as with Juno, is utterly dumbfounded by the prospect of a child on the horizon, and for originality’s sake, it’s more refreshing than the drama from Knocked Up, as enjoyable as that film nonetheless was.
By and large, Reitman’s film assumes a fairly balanced stance on underage sex and pregnancy, not pointing the finger of judgement, nor throwing caution to the wind, yet there is one scene in which writer Diablo Cody noticeably allows her mask to slip. The scene, in which Juno has an ultrasound scan, seems to defend Juno, and attempt to empower her character, despite the fact that she was, as well as Bleaker, extremely irresponsible in her act of unprotected sex. An argument is sparked after the ultrasound technician appears overly pleased that Juno has found adoptive parents for the baby, and what follows is a sour, overly verbose attack on not only the views of the technician, but her job also. This scene almost disengaged me from the film entirely, and felt entirely unnecessary. I know nothing of Diablo Cody’s life, yet one might think she has several chips on her shoulder in lieu of this scene.
Whilst Juno is herself interesting as an atypical teenager, Jennifer Garner’s Vanessa is the truly curious character of the film – she is overly nervous, and the mildly uncomfortable and highly uncertain element of the film. Not only does she worry about Juno buckling under the pressure of her situation, but she appears slightly uncomfortable with the fast friendship which develops between Juno and her husband Mark (Bateman). There are hints that their relationship is mildly improper, although tonally, this dynamic does not sit entirely well – their encounters work considerably better as a sort of father/daughter substitute, and the scenes in which they bond by listening to music and watching horror films are among the film’s more touching scenes. The film’s latter moments may seem to undo such tenderness, although much of this is open to interpretation.
A spanner is thrown in the works late in the day, and along with the film’s other mysteries, leaves us wandering how it all will end, a rarity for a film of this ilk, although this is no conventional “unplanned pregnancy film” by any means, and Juno pulls off such conundrums considerably more effectively than the competition. The end result is a satisfying departure from the norm, opting for a diverse approach that does justice to each and every character we meet throughout.
The ending shows a marked maturity and strength of writing on the part of Diablo Cody, and makes the film comfortable in not constantly returning to characters who are now only ancillary to the film’s narrative. Cody allows things to tick over and percolate in the viewer’s mind – what are the characters thinking? It is arguable that knowing this would serve the film better, but I doubt it.
Juno’s dialogue is quick-fire to the point of lacking realism, and the offbeat soundtrack may alienate some viewers, yet as far as indie films go for 2007, Juno takes pole position. Ellen Page's performance is impressive, although the claims regarding its Oscar worth are dubious. However, from its quirks to its off-the-wall sense of humour, Juno is a nonetheless fun adventure akin to 2006’s Little Miss Sunshine.
Thanks for reading,
Reefer
The film assumes unto itself a certain “hipness” from the outset – the seemingly rotoscoped (or some equally impressive visual effect) opening credits are accompanied by a rather catchy little tune, although as with many songs from the “indie” genre (and subsequently, most songs from this film’s soundtrack), it is very hit and miss, and moreover, very much “love it or hate it”. Nevertheless, whether you appreciate the aural aspects, at least artistically, the film must be commended – it is a crisp and snappy picture.
What is most striking once the film truly gets underway is its dialogue form – it is highly unnatural, and whilst it is without doubt well-written, to hear such verbiage spew from the mouth of a 16-year old seems forced, overly precocious, and even a little annoying.
The film makes nice in not wasting its rather short running time – Juno soon lets the father, Bleaker, know of his impending fatherhood, and the moments such as this in which the film slows down, opting for simpler dialogue, are among the film’s best.
One of the film’s more memorable scenes also involves Juno gently breaking to her father (J.K. Simmons) that she is pregnant. It is a scene of great, restrained hilarity, highlighting the importance of the many great supporting performances within the film, ranging from the obvious, such as Jason Bateman (as one of Juno’s prospective adopters), and the less obvious, such as Rainn Wilson, from Six Feet Under and The Office (US) fame. Whilst none of these performances are surprising in their quality, Jennifer Garner as the wife of Bateman’s character certainly is – Garner not only radiates, but pulls off a career best by a considerable margin.
After initially making Bleaker privy to his siring a child, he is kept out of sight for a considerable period of time before we ever truly learn his emotional stance on what is before him. The little that is clear is that he, as with Juno, is utterly dumbfounded by the prospect of a child on the horizon, and for originality’s sake, it’s more refreshing than the drama from Knocked Up, as enjoyable as that film nonetheless was.
By and large, Reitman’s film assumes a fairly balanced stance on underage sex and pregnancy, not pointing the finger of judgement, nor throwing caution to the wind, yet there is one scene in which writer Diablo Cody noticeably allows her mask to slip. The scene, in which Juno has an ultrasound scan, seems to defend Juno, and attempt to empower her character, despite the fact that she was, as well as Bleaker, extremely irresponsible in her act of unprotected sex. An argument is sparked after the ultrasound technician appears overly pleased that Juno has found adoptive parents for the baby, and what follows is a sour, overly verbose attack on not only the views of the technician, but her job also. This scene almost disengaged me from the film entirely, and felt entirely unnecessary. I know nothing of Diablo Cody’s life, yet one might think she has several chips on her shoulder in lieu of this scene.
Whilst Juno is herself interesting as an atypical teenager, Jennifer Garner’s Vanessa is the truly curious character of the film – she is overly nervous, and the mildly uncomfortable and highly uncertain element of the film. Not only does she worry about Juno buckling under the pressure of her situation, but she appears slightly uncomfortable with the fast friendship which develops between Juno and her husband Mark (Bateman). There are hints that their relationship is mildly improper, although tonally, this dynamic does not sit entirely well – their encounters work considerably better as a sort of father/daughter substitute, and the scenes in which they bond by listening to music and watching horror films are among the film’s more touching scenes. The film’s latter moments may seem to undo such tenderness, although much of this is open to interpretation.
A spanner is thrown in the works late in the day, and along with the film’s other mysteries, leaves us wandering how it all will end, a rarity for a film of this ilk, although this is no conventional “unplanned pregnancy film” by any means, and Juno pulls off such conundrums considerably more effectively than the competition. The end result is a satisfying departure from the norm, opting for a diverse approach that does justice to each and every character we meet throughout.
The ending shows a marked maturity and strength of writing on the part of Diablo Cody, and makes the film comfortable in not constantly returning to characters who are now only ancillary to the film’s narrative. Cody allows things to tick over and percolate in the viewer’s mind – what are the characters thinking? It is arguable that knowing this would serve the film better, but I doubt it.
Juno’s dialogue is quick-fire to the point of lacking realism, and the offbeat soundtrack may alienate some viewers, yet as far as indie films go for 2007, Juno takes pole position. Ellen Page's performance is impressive, although the claims regarding its Oscar worth are dubious. However, from its quirks to its off-the-wall sense of humour, Juno is a nonetheless fun adventure akin to 2006’s Little Miss Sunshine.
Thanks for reading,
Reefer
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Juno, helmed by Jason Reitman, director of the excellent Thank You for Smoking, dictates the emotional peaks and troughs of Juno (Ellen Page), a 16-year old girl who suddenly discovers that she is pregnant by her friend, Paulie Bleaker (Michael Cera). Think a slightly edgier version of Knocked Up, given the age of the pregnant person, and you’re right on the money.
The film assumes unto itself a certain “hipness” from the outset – the seemingly rotoscoped (or some equally impressive visual effect) opening credits are accompanied by a rather catchy little tune, although as with many songs from the “indie” genre (and subsequently, most songs from this film’s soundtrack), it is very hit and miss, and moreover, very much “love it or hate it”. Nevertheless, whether you appreciate the aural aspects, at least artistically, the film must be commended – it is a crisp and snappy picture.
What is most striking once the film truly gets underway is its dialogue form – it is highly unnatural, and whilst it is without doubt well-written, to hear such verbiage spew from the mouth of a 16-year old seems forced, overly precocious, and even a little annoying.
The film makes nice in not wasting its rather short running time – Juno soon lets the father, Bleaker, know of his impending fatherhood, and the moments such as this in which the film slows down, opting for simpler dialogue, are among the film’s best.
One of the film’s more memorable scenes also involves Juno gently breaking to her father (J.K. Simmons) that she is pregnant. It is a scene of great, restrained hilarity, highlighting the importance of the many great supporting performances within the film, ranging from the obvious, such as Jason Bateman (as one of Juno’s prospective adopters), and the less obvious, such as Rainn Wilson, from Six Feet Under and The Office (US) fame. Whilst none of these performances are surprising in their quality, Jennifer Garner as the wife of Bateman’s character certainly is – Garner not only radiates, but pulls off a career best by a considerable margin.
After initially making Bleaker privy to his siring a child, he is kept out of sight for a considerable period of time before we ever truly learn his emotional stance on what is before him. The little that is clear is that he, as with Juno, is utterly dumbfounded by the prospect of a child on the horizon, and for originality’s sake, it’s more refreshing than the drama from Knocked Up, as enjoyable as that film nonetheless was.
By and large, Reitman’s film assumes a fairly balanced stance on underage sex and pregnancy, not pointing the finger of judgement, nor throwing caution to the wind, yet there is one scene in which writer Diablo Cody noticeably allows her mask to slip. The scene, in which Juno has an ultrasound scan, seems to defend Juno, and attempt to empower her character, despite the fact that she was, as well as Bleaker, extremely irresponsible in her act of unprotected sex. An argument is sparked after the ultrasound technician appears overly pleased that Juno has found adoptive parents for the baby, and what follows is a sour, overly verbose attack on not only the views of the technician, but her job also. This scene almost disengaged me from the film entirely, and felt entirely unnecessary. I know nothing of Diablo Cody’s life, yet one might think she has several chips on her shoulder in lieu of this scene.
Whilst Juno is herself interesting as an atypical teenager, Jennifer Garner’s Vanessa is the truly curious character of the film – she is overly nervous, and the mildly uncomfortable and highly uncertain element of the film. Not only does she worry about Juno buckling under the pressure of her situation, but she appears slightly uncomfortable with the fast friendship which develops between Juno and her husband Mark (Bateman). There are hints that their relationship is mildly improper, although tonally, this dynamic does not sit entirely well – their encounters work considerably better as a sort of father/daughter substitute, and the scenes in which they bond by listening to music and watching horror films are among the film’s more touching scenes. The film’s latter moments may seem to undo such tenderness, although much of this is open to interpretation.
A spanner is thrown in the works late in the day, and along with the film’s other mysteries, leaves us wandering how it all will end, a rarity for a film of this ilk, although this is no conventional “unplanned pregnancy film” by any means, and Juno pulls off such conundrums considerably more effectively than the competition. The end result is a satisfying departure from the norm, opting for a diverse approach that does justice to each and every character we meet throughout.
The ending shows a marked maturity and strength of writing on the part of Diablo Cody, and makes the film comfortable in not constantly returning to characters who are now only ancillary to the film’s narrative. Cody allows things to tick over and percolate in the viewer’s mind – what are the characters thinking? It is arguable that knowing this would serve the film better, but I doubt it.
Juno’s dialogue is quick-fire to the point of lacking realism, and the offbeat soundtrack may alienate some viewers, yet as far as indie films go for 2007, Juno takes pole position. Ellen Page's performance is impressive, although the claims regarding its Oscar worth are dubious. However, from its quirks to its off-the-wall sense of humour, Juno is a nonetheless fun adventure akin to 2006’s Little Miss Sunshine.
Thanks for reading,
Reefer
The film assumes unto itself a certain “hipness” from the outset – the seemingly rotoscoped (or some equally impressive visual effect) opening credits are accompanied by a rather catchy little tune, although as with many songs from the “indie” genre (and subsequently, most songs from this film’s soundtrack), it is very hit and miss, and moreover, very much “love it or hate it”. Nevertheless, whether you appreciate the aural aspects, at least artistically, the film must be commended – it is a crisp and snappy picture.
What is most striking once the film truly gets underway is its dialogue form – it is highly unnatural, and whilst it is without doubt well-written, to hear such verbiage spew from the mouth of a 16-year old seems forced, overly precocious, and even a little annoying.
The film makes nice in not wasting its rather short running time – Juno soon lets the father, Bleaker, know of his impending fatherhood, and the moments such as this in which the film slows down, opting for simpler dialogue, are among the film’s best.
One of the film’s more memorable scenes also involves Juno gently breaking to her father (J.K. Simmons) that she is pregnant. It is a scene of great, restrained hilarity, highlighting the importance of the many great supporting performances within the film, ranging from the obvious, such as Jason Bateman (as one of Juno’s prospective adopters), and the less obvious, such as Rainn Wilson, from Six Feet Under and The Office (US) fame. Whilst none of these performances are surprising in their quality, Jennifer Garner as the wife of Bateman’s character certainly is – Garner not only radiates, but pulls off a career best by a considerable margin.
After initially making Bleaker privy to his siring a child, he is kept out of sight for a considerable period of time before we ever truly learn his emotional stance on what is before him. The little that is clear is that he, as with Juno, is utterly dumbfounded by the prospect of a child on the horizon, and for originality’s sake, it’s more refreshing than the drama from Knocked Up, as enjoyable as that film nonetheless was.
By and large, Reitman’s film assumes a fairly balanced stance on underage sex and pregnancy, not pointing the finger of judgement, nor throwing caution to the wind, yet there is one scene in which writer Diablo Cody noticeably allows her mask to slip. The scene, in which Juno has an ultrasound scan, seems to defend Juno, and attempt to empower her character, despite the fact that she was, as well as Bleaker, extremely irresponsible in her act of unprotected sex. An argument is sparked after the ultrasound technician appears overly pleased that Juno has found adoptive parents for the baby, and what follows is a sour, overly verbose attack on not only the views of the technician, but her job also. This scene almost disengaged me from the film entirely, and felt entirely unnecessary. I know nothing of Diablo Cody’s life, yet one might think she has several chips on her shoulder in lieu of this scene.
Whilst Juno is herself interesting as an atypical teenager, Jennifer Garner’s Vanessa is the truly curious character of the film – she is overly nervous, and the mildly uncomfortable and highly uncertain element of the film. Not only does she worry about Juno buckling under the pressure of her situation, but she appears slightly uncomfortable with the fast friendship which develops between Juno and her husband Mark (Bateman). There are hints that their relationship is mildly improper, although tonally, this dynamic does not sit entirely well – their encounters work considerably better as a sort of father/daughter substitute, and the scenes in which they bond by listening to music and watching horror films are among the film’s more touching scenes. The film’s latter moments may seem to undo such tenderness, although much of this is open to interpretation.
A spanner is thrown in the works late in the day, and along with the film’s other mysteries, leaves us wandering how it all will end, a rarity for a film of this ilk, although this is no conventional “unplanned pregnancy film” by any means, and Juno pulls off such conundrums considerably more effectively than the competition. The end result is a satisfying departure from the norm, opting for a diverse approach that does justice to each and every character we meet throughout.
The ending shows a marked maturity and strength of writing on the part of Diablo Cody, and makes the film comfortable in not constantly returning to characters who are now only ancillary to the film’s narrative. Cody allows things to tick over and percolate in the viewer’s mind – what are the characters thinking? It is arguable that knowing this would serve the film better, but I doubt it.
Juno’s dialogue is quick-fire to the point of lacking realism, and the offbeat soundtrack may alienate some viewers, yet as far as indie films go for 2007, Juno takes pole position. Ellen Page's performance is impressive, although the claims regarding its Oscar worth are dubious. However, from its quirks to its off-the-wall sense of humour, Juno is a nonetheless fun adventure akin to 2006’s Little Miss Sunshine.
Thanks for reading,
Reefer