Review: Juno

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Review: Juno

Now all the Oscar haze surrounding this ‘sleeper-hit comedy of the year’ has finally settled, a clearer picture of Juno has finally come into view. And unfortunately it doesn’t seem to be as flawless as those that sung its praises from the highest rooftops claimed it to be. Critics, more than anything, love to try and champion a trendy indie flick, whipping up mainstream attention. And Juno, the story of a mid-teen, who having fallen pregnant seeks a couple to adopt her newborn, is no different.
The drawback to all this attention is it creates a manufactured hype for a movie that will never manage to live up to it. Scribed by stripper-cum-blogger-cum-screenwriter Diablo Cody, is admittedly a refreshingly original take on a premise that has all the potential to be crushingly dull in the wrong hands. However, her lack of experience sometimes shows in the somewhat wafer-thin plotting.
Moreover, the eponymous adolescent, if believed, is the smartest 16 year-old this side of a child prodigy. Admittedly a finely observed performance by Ellen Page, she is crammed with quips that tumble out of her mouth every other line, which becomes tiresome after the first hour. This, coupled with the fact she, along with her parents, seem to think accidentally falling pregnant after a bout of clumsy sex is slightly mundane, and can be concluded with a witty remark (“I am for shizz up the spout”).
Even more troubling for this film, it was released to a post Knocked Up audience. So, was Tinseltown really big enough for two ‘bun-in-the-oven’ based comedies in 2007? Maybe, but we will never really know as it would be hard, and very nearly a falsehood, to brand Juno an out-an-out comedy. Compared to its obvious bedfellow, which rolled off the Judd Apatow production line last summer, it contains a surprisingly sparse amount of knee-slappers. As mentioned, it has more intelligent wisecracking than you can shake a stick at, but contains not one solitary sure-fire belly laugh.
And this is its fundamental problem over all others. Seth Rogan et al mange to strike the balance between quotable one line zingers, gross out visual gags, whilst still maintaining a thumping heart at its core. Juno, while still possessing an emotional string to its bow, does not manage to play with it way into the third act. By which time it has long since forgotten to be funny. This could, in part, have something to do with the painfully underused new comic talent, Superbad’s Michael Cera. Although he is playing more of the straight man here, he manages to be just a blur over the short running time.
However, to ignore the highs of this film would be doing it a complete disservice. As mentioned, the star and supporting cast all submit very watchable performances. Arrested Development’s Jason Bateman puts in an incredibly good performance as the wary father to be. But more importantly, the film, although having somewhat of an identity crisis, has a hugely heart-warming feel to it, contributed not least because of the light, whimsical soundtrack.

Adam Jelley