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 Post subject: Juno
PostPosted: October 27th, 2007, 11:58 am 
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FS is doing free screenings for Juno. Might be of interest.

http://rsvp.foxsearchlight.com/RSVPSystem/screenings.php?MoviesId=55


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 Post subject: Re: Juno
PostPosted: October 27th, 2007, 12:37 pm 
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Oh man, my city is already full. I didn't think they'd hold these so early.


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 Post subject: Re: Juno
PostPosted: October 27th, 2007, 9:44 pm 
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saw the trailer when I went to see "darjeeling". It seems like a funny movie. Love that they used Mott the Hoople's "All the young dudes" in the trailer.


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 Post subject: Re: Juno
PostPosted: November 13th, 2007, 8:19 pm 
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It looks pretty good. I want to see Michael Cera and Jason Bateman from Arrested Development


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 Post subject: Re: Juno
PostPosted: November 14th, 2007, 9:01 am 
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I hadn't heard of this picture, so I looked it up on imdb. The writer calls herself Diablo Cody. Ha. I wish "affectatialistic" were a real word, 'cause that's the best way I can think of to describe it.

Oh, other than that, looks like it might be worth a viewing. I did like Thank You For Smoking an awful lot.


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 Post subject: Re: Juno
PostPosted: November 15th, 2007, 12:59 am 
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I read a terrific interview with Ms. Cody in Entertainment Weekly, and it made me neeeed to see this movie. After seeing the preview online, I've put this movie at the top of my see-before-2007-ends list.

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 Post subject: Re: Juno
PostPosted: November 16th, 2007, 5:23 am 
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I saw it at one of the Fox preview screenings tonight and it was great. Diablo Cody and Ellen Page were supposed to be there, but due to weather circumstances their flight got in late so they couldn't come. None the less, great movie, and they even handed out wonderful cone-orange t-shirts. (Much brighter in real life.)


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 Post subject: Re: Juno
PostPosted: January 26th, 2008, 9:28 pm 
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[spoiler alert]

Did Mark leave Vanessa because he loved Juno romantically or because Juno made him realize what a shit life he had?

P.S. I want that hamburger phone.


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 Post subject: Re: Juno
PostPosted: January 26th, 2008, 11:30 pm 
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i think it was more about realizing his life was crap (to him). the romantic bit probably came bc he found her attractive for being cool - about music, about her baby, et al. plus the threat of a baby actually coming probably made him say 'nuh uh i cant do it.'

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 Post subject: Re: Juno
PostPosted: January 29th, 2008, 8:20 am 
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Saw this thread in my Google alert for Wes: a debate about whether or not Juno is like a Wes film or not, and whether or not that is good or bad. A bit mean-spirited toward Wes at moments.

URL: http://mbd.scout.com/mb.aspx?S=172&F=2488&T=1927292&P=1#s=172&f=2488&t=1927292

Quote:
The eccentric humor, quirky characters, the extensive use of 60's/Indie music, etc reminded me of the great movies of Wes Anderson like Rushmore. A very nicely done flick.


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It was like a trite copy of all the base elements of Wes Anderson films. Trying so hard to be cool that it never could be.

Sadly, it's still better than 95% of movies that come out.


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Juno reminds me of a horribly bland, forced rip-off of a Wes Anderson movie. Please never compare this pile of crap to a West Anderson flick.


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I found it to be just the opposite. WILDLY more entertaining and MUCH less pretentious than any Wes Anderson flick I've ever seen...and I've seen them all.


What do you think?

I found it to be Wes-like in the vaguest of ways -- its humanism, its hip soundtrack, the element of fantasy, etc. But, it also sort of concerns me that, in a world of Michael Bay movies, these two movies converge. I think the movie is aesthetically different (even if similar in some ways). I think Wes' dialogue and sense of humor are different (I loved the Rushmore-esque seasons, though). Hmm... I am excited about the comparison, because I really loved Juno. BUT, it wasn't a Wes movie for me.


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 Post subject: Re: Juno
PostPosted: May 6th, 2008, 5:38 pm 
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I really loved Juno. But I don't think it could really be compared to a Wes Anderson movie. It simply lacked the brilliance in the dialogues. Also the story wasn't as intriguing or fascinating as the stories in Wes' films. What I really like about Wes' movies is that the writer knows so much more about the characters and their histories than he shows, so as a spectator, you have to think about the meaning of the movie really hard. With Juno this wasn't the case. Still loved it though.

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 Post subject: Re: Juno
PostPosted: July 31st, 2008, 4:19 am 
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Edward Appleby wrote:
BUT, it wasn't a Wes movie for me.


I agree. I don't know but there are films when you read the reviews and they always say that it's so much Wes Anderson-like... and I never see it this way. I don't know I just think that Wes is so unique and different from everybody else on this business.

Juno is a lovely movie which I enjoyed a lot, but I didn't find so much of Wes movies here.

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 Post subject: Re: Juno
PostPosted: August 4th, 2009, 11:27 pm 
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So I hesitated from joining this discussion when it occurred, but a conversation I had this weekend got me thinking about Juno again. So I'll come out and say this now:

Juno made me like Jason Reitman more than Wes Anderson.

I never thought I'd be able to find a contemporary director I like more than Wes. This doesn't mean there aren't several that are more talented in different ways, especially Chris Nolan, but this isn't the point (And I'm not saying Reitman is more talented than Wes, either). Wes was my favorite, for so long. In fact, I consider his films to be an immensely important aspect of my life and growing up. I still doubt I'll have feel such an emotional, personal connection to a film as I continue to do with Rushmore.

In Juno, Jason Reitman managed to lift considerable aspects of Wes' style and make a movie that is far more accessible than anything Wes has ever done. I've always understood why so many don't like Wes' films. They are not for everyone. But that they aren't for everyone isn't proof of their greatness. Too often, I feel, many cinephiles seems to like artsy films simply because a mass audience would not; they like the pretension and the apparent complexity. (Example: There is no other possible justification, as far as I can tell, for the insanely unearned worship of Donnie Darko.)

At the same time, a film's success with a mass audience doesn't make it a good film (see: Transformers). Nonetheless, there is a particular skill in recognizing what an audience wants and delivering it (Michael Bay, as much as I hate his films, knows what he's doing). But there's an even greater skill not in giving the mass audience what it already knows it wants but more or less telling a mass audience what it didn't know it wanted and or getting a mass audience to see what it hasn't seen before. The commerical success of Juno was organic. Great reviews, great marketing, and exceptional word of mouth.

It was clear to me watching Juno that Jason Reitman loves Wes Anderson just as much as I do. If I were directing a movie, I'd try to throw a nod or two towards Wes. But I wouldn't copy him (Jared Hess, are you listening?). I'm not him. We're different. Same goes for Jason Reitman. He wasn't afraid to throw a few shoutouts Wes' way. But he made his own damn film, a film that was loved by both the art house world and the average filmgoer, and I think that's damn impressive.

But these stylistic and commerical issues are incidental to why I'm bigger on Reitman these days. Here's why: politics.

Old school racers who know me know that I'm really into politics, and that I'm a libertarian. It should go without saying that I loved Thank You For Smoking, which is quite possibly the most explicitly libertarian movie I've ever seen. And though I knew Jason Reitman's politics, I wasn't expecting Juno to be a very political film. I was wrong. (It has nothing to do with the abortion question, if that's what you're thinking.)

Even though, definitionally, most people/Americans are middle class, films rarely depict middle class life. And when they do depict it, they don't do it accurately, and they don't do it with praise. Condemnation for the American Dream oozes out of Hollywood, even though Hollywood films often sell the American Dream to the middle class audience by making movies about successful, pretty people living in gorgeous apartments.

Even if Juno joins in suggesting that something is wrong with the kind of neighborhood the Lorings live in (and there is something wrong with it), Juno is no total condemnation of suburbia. No, it's a celebration of middle class life and middle class family values. Note to social conservatives: study how Mac and Bren treat their pregnant teenage daugther with love, understanding, and compassion -- even all the more touching by the fact than Bren is not Juno's real mother. For example, this is quite possibly the most touching exchange between a father and daughter in any film I have ever seen:

Juno MacGuff: That's not what it's about. I just need to know that it's possible that two people can stay happy together forever.
Mac MacGuff: Well, it's not easy, that's for sure. Now, I may not have the best track record in the world, but I have been with your stepmother for 10 years now and I'm proud to say that we're very happy.
[Juno nods]
Mac MacGuff: Look, in my opinion, the best thing you can do is find a person who loves you for exactly what you are. Good mood, bad mood, ugly, pretty, handsome, what have you, the right person is still going to think the sun shines out your ass. That's the kind of person that's worth sticking with.
Juno MacGuff: Yeah. And I think I've found that person.
Mac MacGuff: Yeah sure you have - your old D-A-D! You know I'll always be there to love you and support you no matter what kind of pickle you're in... Obviously.
[nods to her belly]
Juno MacGuff: Dad, I think I'm just going to, like, shove out for a sec, but I won't be home late.
Mac MacGuff: Ok. You were talking about me right?

[On an unrelated note, I want all those people who complained about Diablo's script and its jargon to read that scene. It is perfect.]

We had a couple of discussions on these boards years back about how one of the differences between Alexander Payne and Wes Anderson is that Payne seems to hate his own characters. Well, Reitman LOVES the MacGuffs, and so do I.

I don't know how well I've made my case here, it's really just a few random thoughts. But here's how I made this case to someone else: Think of Juno as the anti-Graduate. These are two films with fairly similar comic sensibilities. Some similar themes and questions (young love, relationship with an older figure). And Reitman quotes Anderson who was quoting Nichols.

But just examine those closing shots. Preceeding both, the hero performs an arguably romantic gesture to win back a lover s/he has wronged. Who knows what's in store for these lovers in the future? They're young, and anybody who had young love knows that it probably won't last. But Reitman wants it to last, and he wants us to want it to last. He doesn't place his lovers on a moving bus, headed into the unknown. He sits them down, in front of a quiet, simple house, doing something they love together. This is the American Dream. Who can ask for more?

[Apologies for the length, folks.]

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 Post subject: Re: Juno
PostPosted: September 11th, 2009, 3:07 pm 
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I just rewatched this film this morning. I like the film. I don't think it shares any similarities with Wes' work. I think it's just lazy reviewing.

As much as I do like this movie, I will never forgive how the people who saw it completely bastardized the Moldy Peaches for me. As I had discovered them probably 3 monthes before Juno came out. I'm not playing that "i listened to them first" card. But it's what I think when I watch this movie. : /


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 Post subject: Re: Juno
PostPosted: September 11th, 2009, 3:44 pm 
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It happens to the best of bands.. It's something we cutting edge music fanatics just have to learn to cope with.

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