{"id":23072,"date":"2007-12-05T08:00:49","date_gmt":"2007-12-05T16:00:49","guid":{"rendered":"http:\/\/admin.patheos.com\/blogs\/filmchat\/?p=23072"},"modified":"2014-10-10T19:33:26","modified_gmt":"2014-10-11T02:33:26","slug":"review-juno-dir-jason-reitman-2007","status":"publish","type":"post","link":"https:\/\/www.patheos.com\/blogs\/filmchat\/2007\/12\/review-juno-dir-jason-reitman-2007.html","title":{"rendered":"Review: Juno<\/i> (dir. Jason Reitman, 2007)"},"content":{"rendered":"\n<\/head>

\"juno\"<\/a>Who could have foreseen that 2007 would be the year of the unplanned pregnancy at the multiplex? And who could have foreseen that, as the year progressed, the films dealing with this topic would be increasingly bold in expressing their implicitly pro-life \u2014 not \u201canti-choice,\u201d but certainly pro-life \u2014 sensibilities?<\/p>\n

First there was Waitress<\/i>, which starred 30-ish Keri Russell as a married woman who learns that she is bearing the offspring of her neglectful, even abusive, husband; deeply ambivalent about the pregnancy itself, she simply states that she recognizes the child\u2019s \u201cright to thrive,\u201d and that is that. Then there was Knocked Up<\/a><\/i>, in which Katherine Heigl played a single up-and-coming journalist in her 20s who keeps her baby partly because she is repulsed by her mother\u2019s suggestion that she \u201ctake care of\u201d the pregnancy now and have a \u201creal baby\u201d at some point in the future.<\/p>\n

And now, there is Juno<\/a><\/i>, which is arguably the funniest and most meaningful of the lot. The film stars Ellen Page as the youngest mother of them all, a whip-smart high-school student named Juno MacGuff who discovers that she is in the family way after a single sexual experience with her best friend and bandmate, a semi-dorky track star named Paulie Bleeker (Superbad<\/i>\u2019s Michael Cera).<\/p>\n

The film\u2019s early scenes play on the idea that teenagers these days have become quite casual about sexual matters \u2014 Juno\u2019s friend Leah (Olivia Thirlby) offers to call the abortion clinic for her, just like she did for one of their friends \u2014 but things take an unexpected turn when Juno shows up at the clinic itself. Standing outside is a classmate named Su-Chin (Valerie Tian), who holds a pro-life placard and chants, insistently but not aggressively, \u201cAll babies want to get borned!\u201d<\/p>\n

Juno shrugs Su-Chin off at first, but as she sits in the lobby, something else Su-Chin said \u2014 that her baby has fingernails<\/i> \u2014 sticks in Juno\u2019s mind, underscoring the humanity of the unborn fetus. In fact, it sticks in her mind so much that, before long, Juno stands up and walks right back out of the clinic \u2014 much to the delight of Su-Chin, who beams, \u201cGod appreciates your miracle!\u201d<\/p>\n

This is the one and only time that we see Su-Chin, and what with her bad grammar and earnest sloganeering, she may come across as a bit of a stereotype. But the story hinges on her, so it is worth noting the small but significant part she plays in convincing Juno to carry her baby to term \u2014 a decision that becomes the first step on a humorous, confusing, and ultimately moving path towards Juno\u2019s greater maturity. Put simply: because Juno accepts her pregnancy, she grows up.<\/p>\n

Juno recognizes, however, that she is not ready to raise<\/i> the child, so she looks in the classifieds for a couple that wants to adopt, and she finds one in the comfortably middle-class Mark and Vanessa Loring (The Kingdom<\/i> co-stars Jason Bateman and Jennifer Garner). But there are hints, too subtle for Juno, that the Lorings might not be on quite the same page. Vanessa desperately wants a child, but Mark doesn\u2019t seem to share her enthusiasm. And when Juno discovers that Mark is a musician too, he strikes up a friendship with her that threatens to cross a boundary or two.<\/p>\n

Juno<\/i> is the first film written by Diablo Cody, a blogger and former stripper who knows how to come up with hip, clever lines and so-old-they\u2019re-cool-again pop-culture references (\u201cThundercats are go!\u201d cries Juno when she goes into labour). But even better than that is the way the film goes beneath the hipster surface and gives many of its characters an extra dimension that goes beyond Juno\u2019s perception of them. In short, this is a film that empathizes with all of its main characters.<\/p>\n

Vanessa, for example, seems rather uptight when we first meet her, so much so that you wonder if you would really want to give your child to her; but later on, Juno bumps into Vanessa at a shopping mall and offers to let Vanessa feel her belly \u2014 and there is genuine, sympathetic suspense as we wait to see whether the baby will kick and, in some sense, begin to bond with its would-be future adoptive mother.<\/p>\n

On the flip side, we can also appreciate that Mark, who used to play in a rock and roll band before he turned to writing commercial jingles, feels constricted by Vanessa\u2019s need to form a proper suburban domestic family unit. His music, his comics, and his horror movies are all confined to a single room while Vanessa seeks his opinion on which shade of yellow to color the baby\u2019s room. Mark makes at least one very bad decision because he feels so stifled, but we can understand why he does.<\/p>\n

And then there are Juno\u2019s parents. As Juno\u2019s father, J.K. Simmons (Spider-Man<\/a><\/i>\u2019s J. Jonah Jameson) lets the love and concern he has for his daughter show through his usual gruff exterior. And as Juno\u2019s stepmother, Alison Janney (who has played her share of caricatures, most recently in Hairspray<\/a><\/i>) has moments of genuine warmth and compassion. Remarkably, while the film is clearly told from Juno\u2019s point of view, and while Juno\u2019s taste in music and knack for witticisms mark her as an alter ego of sorts for screenwriter Cody, the film is smart enough and broad-minded enough to recognize that Juno really is<\/i> a na\u00efve child in some ways, and that sometimes the adults \u2014 including those that Juno taunts \u2014 really do<\/i> know better than her.<\/p>\n

Juno <\/i>is directed by Jason Reitman, whose last film was the scathingly brilliant satire Thank You for Smoking<\/a><\/i>. The new film is, if anything, even better than his previous effort, and it works equally well as a story of pre-mid-life crisis \u2014 when, exactly, did Gen-Xers like Mark abandon the mosh pit for mortgages and families? \u2014 and as a straightforward high-school comedy, with hints of possible romance as Paulie shyly suggests that he and Juno should get back \u201ctogether\u201d on a long-term basis.<\/p>\n

Note to those who may be drawn to the movie by the pro-life elements: It would be a stretch to say that Cody or Reitman intended this to be a \u201csocially conservative\u201d film. Juno and her friends are still teenagers, with all that that implies, though the jokes they tell never stray outside PG-13 territory. (This isn\u2019t a Judd Apatow film, in other words.) Also, it is worth noting that, when all is said and done, neither Juno nor her child end up in a traditional family, as such. But in a way, that just underscores the film\u2019s implicit pro-life sensibility. Life is life, and deserves to be nurtured, even \u2014 if not especially \u2014 when everything around it is broken.<\/p>\n

3.5 stars (out of 4)<\/p>\n

\u2013<\/p>\n

Talk About It<\/b>
\nDiscussion starters<\/i><\/p>\n

1. Juno\u2019s dad says, \u201cI thought you were the kind of girl who knew when to say when,\u201d and Juno replies, \u201cI don\u2019t know what kind of girl I am.\u201d How does keeping her baby affect Juno\u2019s sense of her own identity? How do her choices shape her? How do you think things would have turned out for her if she hadn\u2019t<\/i> kept the baby?<\/p>\n

2. Juno\u2019s stepmother says, \u201cSomeone\u2019s going to get a special blessing from Jesus in this garbage dump of a situation.\u201d In what way is the baby a blessing? Who is blessed by the baby? Juno? Vanessa? Mark? Juno\u2019s father and stepmother? Are pregnancies ever bad? Are unwanted pregnancies ever good? How can good come out of possibly bad situations like this? (Cf. Genesis 45:4-8; Romans 8:28.)<\/p>\n

3. What does the film say about pregnancy and abortion? Does it neatly fit into a \u201cpro-life\u201d or \u201cpro-choice\u201d category? Why do you think the film deals with the subject the way it does? What difference does it make that babies have \u201cfingernails\u201d?<\/p>\n

4. What does the film say about relationships, marriage and divorce? Note how Juno discusses her birth mother in the opening voiceover. Note also how Juno wishes it were possible for relationships to last forever. Is she na\u00efve? Is she tapping into a certain truth? Why don\u2019t some relationships last? What should people do when they don\u2019t?<\/p>\n

5. What does the film say about the current attitude toward sex among teenagers? If everyone is doing it, then why does Juno cringe at the term \u201csexually active\u201d, or at the way adults try to get kids to use condoms, etc.? Is this portrayal accurate?<\/p>\n

The Family Corner<\/b>
\nFor parents to consider<\/i><\/p>\n

Juno <\/i>is rated PG-13 for mature thematic material (a high school girl gets pregnant and goes to an abortion clinic, where she meets a pro-life classmate), sexual content (brief flashbacks to the moment when Juno and Paulie had sex, though without explicit nudity) and language (about half-a-dozen four-letter words). There are also a couple of brief and mildly irreverent, but not hostile, references to God and Jesus.<\/p>\n

\u2014 A version of this review was first published by Christianity Today Movies.<\/i><\/p>\n<\/body><\/html>\n","protected":false},"excerpt":{"rendered":"

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