Juno - Worst Hipster Film Actually (So Far)

Juno is, in my own belligerent and highly non-humble impression, not just the most overrated picture of the last decade, but also one of the worst. Before we go any further, let me assuage any suggestions you may be creating that I am just wanting to espouse an unpopular belief for the benefit of accomplishing therefore, or that I did not wish to like the movie: the 2nd part holds true. But I also went in to Little Miss Sunshine (2006) wanting and planning to hate it, and I was won by it over. Used to do perhaps not believe it deserved to be considered to be one of the most readily useful films of this year, but it was thoroughly enjoyed by me. Allow it also be known that I like each of Wes Anderson's shows (to different levels), The Squid and the Whale (2005) and Napoleon Dynamite (2004), therefore please don't believe I just hate nice indie videos. Nevertheless, let me expound upon why this is the most insufferably cutesy and irritating film I've noticed since Zach Braff's Garden State in 2004 (and I think this one just might be worse ).The first thirty minutes roughly of Juno are nearly incredible, as Ellen Page (an excellent actor who, like the rest of the cast, is wholly lost on this tripe) struggles to create life to a figure whose every line looks like it had been written by a furious, dumb adolescent who thinks the crowd callbacks at The Rocky Horror Picture Show (1975) are the level of wit. Worse than that, some of those lines are uttered in to a burger phone that the smoothness confesses is uncomfortable to utilize, but it is all the main ironic facade she uses to mask her true susceptible, thoughtful humanity. Sarcasm doesn't read well in writing, therefore I should probably point out here that the film uses another hour unmasking this facet of the personality, all the while indulging in the kind of dialogue that might get you a "D" at best in any self-respecting screenwriting program.As if the dialogue wasn't enough to help keep anyone who has never wore a strange mustache or even a couple of non-prescription granny glasses from vomiting within their popcorn, the film can be regularly peppered with the most awful soundtrack since Daredevil (2003). Kimya Dawson fans, hear me out: it's less that I believe the music is junk (I do - why must I like her music when she looks bored with it herself? ); the purpose is that the music is employed to cover the openings in a script that still ends up looking like swiss cheese created from rat-milk. Writer Diablo Cody and manager Jason Reitman (the equally exemplary Thank You For Smoking and the better yet Up in the Air) seem to are determined that there is no need to produce characters that actually live and breathe - or at least speak in such a means as to separate one dried, acerbic, impossibly overwritten character from another - when you could just insert a lame tune with pretty words that can convey the mood instantly.Oh, and just to ensure the characters appear to be truly unique and amazing, Cody has armed each of them with a few different, insufferable quirks: Juno has an appreciation for orange Slushees and Sunny Delight (a product position that begins in the first opportunity of the movie), and apparently hearing lots of punk rock (though very little of this really is ever actually seen onscreen). Wow, what an unusual teen! Paulie Bleeker (Michael Cera) enjoys red Tic-Tacs (more product placement) and rubs deodorant on his thighs; Mark Loring (Jason Bateman) is a professional songwriter in his late thirties who struggles with the entire maturation / eliminating down / having lots of money that didn't originate from his rock-star dreams point, and Vanessa (Jennifer Garner), his wife, doesn't appear to have any true figure qualities other than seeking a child to produce her life complete. How progressive.Every identity in this movie talks with exactly the same annoying how to be a hipster paradox, every plan position feels as though a hot needle in my own eye. The landscape where Juno's stepmother (Allison Janney) shows off the nurse administering Juno's ultrasound is specially terrible, nonetheless it is not even close to my only gripe. There is also the expected moment when Juno eventually stops working and shows the humanity underneath her ironic veneer, as though that makes her suddenly pleasant after 80 minutes of being one of the most detestable monitor people ever created, not to mention the fact that Rainn Wilson's cameo as the pharmacy clerk exists exclusively for the purpose of supplying that terrible Etch-A-Sketch line from the trailer ("This is one doodle that can't be undid, home-skillet" ).Perhaps the most unpleasant sequence in the whole picture (and there are far more than a few - I am wanting to put this up) is the slapdash glossing over of the abortion option, the first possibility that Juno views. She seems pretty sure of herself in this decision until she actually gets to the abortion clinic and sees that it is a nasty, "grody" place where people less attractive than herself damage themselves and decide at their claws - it is only an excessive amount of for Juno to consider! Put into that is the information that her child may already have claws (supplied by a character who, like Wilson's awful drugstore worker cameo, serves no purpose beyond this contrived, "pivotal" picture), and scraping the small beast out is suddenly no longer an alternative. Really, nails is what changes her mind.Do not get me wrong: I'm personally all for adoption, so it is not the concept of the movie, such as it's, that I object to. What I'm opposed to is negative, sluggish screenwriting that manages to create hype predicated on "edgy" topics like adolescent pregnancy, and then sells the art and the problem short by pandering to audiences who want catch phrases and inexpensive debate. I firmly genuinely believe that this really is one of many worst scripts ever developed, although I would not rate it so on top of the hate list if it weren't so incredibly overrated.