Juno is a hysterical teen comedy with equal parts sweetness and sour. The idea of an underage pregnancy certainly presents a lot of conflicts and seriousness but the film avoids direct messages on the big topics thanks to large doses of levity and some hard-earned wisdom. With this serving as a companion piece to Knocked Up, I suppose Hollywood is convinced there’s something inherently funny about unplanned pregnancy. Remember that, suddenly expectant fathers and mothers.
16-year-old Juno MacGuff (Ellen Page) drinks her “weight in Sunny D” to take pregnancy test after test, but each pee-dipped stick gives the same result: Juno is going to become a mommy. The father is Paulie Bleaker (Michael Cera), a fellow high school student who has a fondness for jogging shorts and orange Tic-Tacs. Juno’s father and step-mother (J.K. Simmons, Allison Janney) lament that they wish their daughter would have told them she was expelled or into hard drugs instead of being pregnant. Still, they are supportive and Juno decides to give away her bun in the oven to a childless couple, Mark and Vanessa (Jason Bateman, Jennifer Garner).
Juno doesn’t patronize or dismiss the gravity of what is indeed happening (a life is being brought into this world); Juno says she is trying to come to grips with issues “way beyond my maturity level.” There are moments that reveal real sadness and regret for some of these characters, and moments of palpable doubt about what it means to officially grow up and assume responsibility for another. Juno also refrains from easy high school stereotypes and coarse humor. Juno is an intelligent comedy that doesn’t make light of its circumstances even if the sarcasm is off the charts. It’s this winning combination of wicked wit and heart that makes [I]Juno[/I] destined to be a crowd-pleaser.
Writer/blogger/former stripper Diablo Cody makes one hell of an impressive screenwriting debut. The dialogue is practically sparkling and revels in the hip, hyper-literate realm that used to dominate the teenage speech patterns of shows like Dawson’s Creek. Sure, it’s not terribly realistic when characters can spout pithy one-liners mixed in with heavy jargon and lots of cool speak, but what do I care when I’m cracking up with laughter so often. But Juno cannot easily be dismissed as glib because Cody throws in some incisive moments that display shades of vulnerability and tenderness with her wacky assortment of characters. Even the aloof oddballs have moments that deepen them from just being quirky for quirky’s sake. These people are more than just receptacles for Cody’s wonderful words; they may begin that way but through the course of 96 minutes they manage to transform into flesh-and-blood where we, the audience, feel their pain and celebrate their happiness. You may be surprised, as I was, to discover yourself holding back tears during the movie’s inevitable and tidy conclusion.
The heavily acoustic score banks on a lot of pleasant, leisurely strumming but it suits the film and the song selections are apt. The very end involves a long acoustic duet rendition of the Moody Peaches’ “Anyone Else But You” and it may be one of the most disarmingly sweet, romantic moments of the year (the repeated lyric “I don’t see what anyone can see in anyone else” is a perfect summary for two outsiders finding their match). In fact, it’s probably the most potentially romantic song ever to include the line “shook a little turd out of the bottom of your pants,” but then again I do profess ignorance when it comes to romantic odes that include defecation references. Somewhere there has to be a Barry White song that has to cover this.
Director Jason Reitman feels like a natural fit for this smart-allecky material. He lets the story take center-stage and, just as he proved with last year’s Thank You for Smoking, he can coax terrific performances from a strong body of actors. He keeps the pace chugging along and keeps form command of the many storylines and characters needing to be juggled. Juno is a comedy that says more about a character through a handful of smart, wry observations that cut to the bone, which is helpful considering the short running time means the film needs to do the most with its time.
Page should have been crowned a star immediately after her blistering performance as jail bait with claws in Hard Candy, but perhaps her top notch comedic turn in Juno will right this slip-up and give Page the opportunity to star in, at least, the same amount of movies as, oh, I don’t know, Amanda Bynes (Seriously, Hollywood, are you just throwing money at her?). Page is the perfect embodiment of the wiseacre teenager that thinks she knows more than anyone else. She recites the refined dialogue with such precision and ease, always knowing what segments to enunciate or de-emphasize to maintain a seamless comedic tone. Page brings great empathy to a know-it-all character and is the snarky spirit that makes Juno resonate.
The supporting cast around Page doesn’t let her down. Cera gives another fine performance of comic awkwardness befitting a teenager contemplating fatherhood. Simmons and Janney make a great pair of unflappable parents, particularly Janney who gives an ultrasound doc a memorable tongue-lashing for an off the cuff remark about Juno. Bateman works the same laid-back demeanor that he excelled at on TV’s Arrested Development. Rainn Wilson (TV’s The Office) makes a very funny cameo in the beginning.
Garner as an actress has been somewhat hamstrung by her roles, either focusing on her multitude of ass-kicking abilities or landing her leads in romantic comedies that don’t require more than dimples and twinkling eyes. In Juno she is driven by her desire to have a baby; she’s affluent, prim, and an easy joke thanks to her stick-in-the-mud seriousness. But then Juno and the audience get a glimpse about how important being a mother is to Vanessa, and Garner nails a rather touching scene where she directly speaks to the growing child inside Juno’s belly upon Juno’s request. She speaks softly to the baby, briefly mentioning how loved they will be, and then she marvels at feeling the baby move. In lesser hands this scene could have induced eye rolls but instead seems genuine and a turning point for how we see Vanessa.
If Juno does have a flaw it is a minor one. The film places its teen romance on the back burner for so long that when it resurfaces and positions itself front and center the storyline lacks credence and believability. The conclusion would have had more emotional weight had the filmmakers spent more time on the teen romance angle, but regardless I was still amused, entertained, and grateful for the ending that came.
Juno is a delightfully tart and hysterical comedy that is easily quote-able thanks to Cody’s quick-fire retorts and snappy dialogue. Page is destined for greatness and Reitman proves once more that he can handle anything thrown at him with deftly comic aplomb. This is an impressive and assured comedy that bristles with comic vitality and confidence. This holiday season, make sure to take a trip to Juno.
Nate’s Grade: A
Posted on November 11, 2007, in 2007 Movies and tagged allison janey, comedy, diablo cody, drama, ellen page, j.k. simmons, jason bateman, jason reitman, jennifer garner, michael cera, olivia thirlby, oscars, quirky, rainn wilson, romance. Bookmark the permalink. Leave a comment.