A probably unnecessary pre-emptive argument

Rating: 9/10 (10 January 2008)

These days, Indie-wood movies involving quirky characters and certain sensibilities reflected by their prominent musical choices are a dime a dozen. So how can I convince you that this one is somehow different, that this one has warmth, humor, and intelligence, and that it stands out? Mostly, it's popularity is a decent argument: this movie has been pretty well received by both audiences and critics alike, giving it a devoted following. Unfortunately, there's also the tendency with situations like that for people to way raise their expectations and then hate it because everyone else likes it, and for once I'd rather that not happen. But as a single reviewer out there, I also kind of distrust myself to try to convince for the Universal appeal to it because, well, for once in my life I watched a movie where I got all of the music references! And I was one of the few (two, that is) people in the audience to laugh out loud at that Sonic Youth quip.
But here's what I have to say about this film to those wary of the over-saturated nature of movies about sarcastic teenagers. One: this movie features a pregnant teenager, but is not a pregnant teenager movie (the baby solves no pre-existing problems, creates no questions into the value of life, and doesn't really change the character beyond her usual teen discovering of self). Two: this movie features a lot of Indie music, but it is not, as some people have already attempted to call it, "A Moldy Peaches music video." Three: Think you see a cliché coming? Wait five minutes, it won't happen. And Four: it may be quotable, but thank the makers, it is NOT Napoleon Dynamite.
What this movie has that most of the movies it's compared to doesn't have is lack of brooding self-seriousness, spot-on writing, and the perspective of an absolutely lovable character who really has little problems at all--only a desire to be cool and work things out, which is much more beautiful than worry over hormones and meaning-of-life stuff. It has a few stumbling blocks--it's book-ended by a ridiculous device involving seats, the first scene in the convenience store is the only one that feels like it's trying too hard--but anyone who can relate to the voice of Juno the character and narrator can relate to anything about this movie, and it's pretty open. The dialog is, in fact, so brilliant because it isn't searching for quotability or lowest-common-denominator relatability, but it's also not bone-dry humor and totally obscure referencing (though I did already bring up the issue with the music). It's... *GASP*...GENUINE! Anyway, I'm glad that this movie is getting so much initial appreciation, I'm just worrying about the inevitable "Mannnn, that movie was soooo overrated and I'm too cool for it" lashback, because Juno the movie only wants two things: to be cool, and work things out. So hey man, be cool, and sit back and let things work themselves out.
--PolarisDiB