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Juno -- d: Jason Reitman -- s: Ellen Page

Old 01-24-08, 06:00 PM
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Originally Posted by bunkaroo
Sorry for the late reply.

Yes, it was on Bruce's debut solo album "Tattooed Millionaire". I don't know if it's still in print, but I''m sure it can be found digitally. It's from the early 90's.
Ah yes, that album is in fact in print. It's been remastered and has a few bonus tracks, if I recall correctly.
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Old 01-24-08, 09:15 PM
  #202  
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I dont think Juno took Sweeny Todd's nomination... I think that was taken by Michael Clayton, a movie I enjoyed but was just like a million like it. Now I would say Atonement, but I have yet to see it so I can't judge it. Based on what Ive read and seen about it, it looks horrible to me, which is the reason why I havent seen it.

I enjoyed Juno because I truly liked it and thought it was one of the best of the year imo, not because I got caught up in the hype... But like others have said, there really isnt any point in trying to figure out the Oscar noms.
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Old 01-24-08, 10:53 PM
  #203  
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Originally Posted by bunkaroo
Thoroughly agree here.

Juno is a somewhat entertaining film being put on some high pedestal to fulfill the seemingly required "quirky" Best Picture nomination.

I enjoyed LMS much more in the theater than Juno, and I didn't even think that one deserved a Best Picture nod.

I'm willing to bet 95% of readers here haven't seen Away From Her, and that's likely due to little promotion and no sexy marketing angle. It is a very poignant film about losing a loved one to a disease. Beautifully acted, directed and written. THAT should have been nominated for Best Picture well ahead of something glib like Juno. At least they're recognizing Julie Christie, but Gordon Pinsent (plays the husband) was even more deserving. Ellen Page winning over Christie would be a travesty.

Hell, even films like Eastern Promises and Sweeney Todd have more right to be nominated for Best Picture.

And it's not that I don't like Reitman, because I loved Thank You For Smoking.

I just think Juno is a prime example of just how far a film can go on marketing.

Again I'm not saying it's a bad film - it's just not a great film.
I agree with all of that. Anyway, I don't think Page will win the Oscar. She didn't win the Golden Globe (although it's not necessarily a good indicator, I know), and she wasn't even competing with the dramatic performances because they split musicals and comedies into a separate category.
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Old 01-25-08, 10:54 PM
  #204  
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Originally Posted by asianxcore
Nope, I felt the same way. At that point in the film I was really curious to what direction it was headed.

"THUNDERCATS....GOOOOO!!!"
My wife and I wondered about that too. She almost left because of what she thought was going to happen. I'm glad I talked her into staying. I'm glad she just gave him the independence push he was looking for instead of a relationship.
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Old 01-26-08, 08:39 AM
  #205  
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Originally Posted by bunkaroo
I'm willing to bet 95% of readers here haven't seen Away From Her, and that's likely due to little promotion and no sexy marketing angle. It is a very poignant film about losing a loved one to a disease. Beautifully acted, directed and written. THAT should have been nominated for Best Picture well ahead of something glib like Juno. At least they're recognizing Julie Christie, but Gordon Pinsent (plays the husband) was even more deserving. Ellen Page winning over Christie would be a travesty.
Saw Away From Her, thought it was great. Here's where we disagree. I'm happy to see Juno up for best pic. I enjoyed it way more than Little Miss Sunshine (which seemed to be quirky for quirky's sake... guess the same could be said for Juno, though). Totally agree that the husband in Away From Her was more deserving, but it's still good to see the pic get some recognition. I guess maybe some people don't like the idea of something lighthearted being nominated? Juno was just one of the most enjoyable films of '07.
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Old 01-26-08, 08:56 AM
  #206  
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yep, nothing more enjoyable than Jason Bateman being creepy.
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Old 01-27-08, 06:57 PM
  #207  
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I saw this tonight, and didn't really like it. Thought it tried too hard to be hip.

I thought that its major weakness was the script. Very lazily written. The voiceover was unnecessary and the nonstop pop culture references were tiresome. With the exception of one line, and the plot itself, the rest needed rewritten by a third party.

I liked Michael Cera a lot, and thought that it was nice that the parents weren't clueless movie parents.

cheers,

-the Jesus
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Old 01-31-08, 12:54 PM
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Reitman is a ripoff artist. I understand directors being influenced by their director idols(ie PTA and Altman) but this is just ridiculous. The art direction from Napolean Dynamite was ripped off in great detail and the style of the movie is an exact copy of a Wes Anderson movie. The use of soundtrack, quirky characters,DP style, use of narration, etc were direct copies of Wes Anderson. I felt like i was watching Rushmore at times. This doesnt take away from Ellen Page's amazing performance.
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Old 01-31-08, 01:41 PM
  #209  
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^ I tend to agree, I enjoyed the film for what it was and the acting should be comended, but Reitman's direction was anything, but original. His nomination should have gone to Sidney Lumet for Before the Devil Knows Your Dead, who actually created an atmosphere for his film. The equivalent for Reitman was a close-up of a pregnant stomach with a matchbox car rolling over it (WOW!)
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Old 01-31-08, 02:35 PM
  #210  
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I don't have a problem with light movies being nominated for Best Pic. This one specifically doesn't deserve it IMO.
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Old 01-31-08, 05:01 PM
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The shooting style of this movie has very little in common with either Jared Hess or Wes Anderson. I honestly don't get the comparisons, but people seem to slump things together if they share one detail in common, it's silly. Little Miss Sunshine, on the other hand, was very wannabe Wes Anderson.

It's a movie that has grown considerably on me with repeated viewing and is very distinctive from the Rushmore/Dynamite bunch.
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Old 01-31-08, 05:53 PM
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^ Then please tell me what was original about Reitman's direction or how it warranted an Academy Award nomination other than the fact that "well, the movie got nominated for everything else, so why not?" I am not trying to be facetious at all, but seriously asking. I enjoyed the movie as I mentioned, but did not find anything unique or especially skillful about the direction.
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Old 01-31-08, 06:00 PM
  #213  
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Originally Posted by BambooLounge
^ Then please tell me what was original about Reitman's direction or how it warranted an Academy Award nomination other than the fact that "well, the movie got nominated for everything else, so why not?" I am not trying to be facetious at all, but seriously asking. I enjoyed the movie as I mentioned, but did not find anything unique or especially skillful about the direction.
Wes Anderson has a very unique style of framing and shot choices. I agree that the way that Juno was directed wasn't particularly original or wildly unique like Anderson's style, but direction doesn't involve only where to place the camera. It has to do with directing the actors through the scene and getting the best out of the words on the pages of the script. It is also about keeping a consistent vision (not necessarily only visual) throughout the course of the film. For what Juno was, as a self-contained world, it was very successful, which is why I think Ebert called it "perfect; it was entirely true to itself in terms of how it defined itself, if that makes any sense.
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Old 01-31-08, 06:03 PM
  #214  
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Originally Posted by BambooLounge
^ Then please tell me what was original about Reitman's direction or how it warranted an Academy Award nomination other than the fact that "well, the movie got nominated for everything else, so why not?" I am not trying to be facetious at all, but seriously asking. I enjoyed the movie as I mentioned, but did not find anything unique or especially skillful about the direction.
It wasn't terribly unique from a visual standpoint, the story didn't really call for it, but it managed pitch perfect pacing and solid emotional climax, arguable by some but generally accepted by most.

It managed fleshed out characters in several scenes without the aid of dialog and kept consistent tone through the entire film. It's arc was properly constrained and showed character evolution as it progressed. Acting was universally fantastic and well suited to the material (And yes, there are movies where characters aren't quite what they should be, and afaik, that's the director's call). There really isn't a wasted scene in the movie. That, imo, is damn fine directing.

Again though, I felt the movie was overhyped when I saw it for the first time, but watching it again, it all set in pretty well on just how well done it is.
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Old 01-31-08, 06:41 PM
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Originally Posted by cupcake jesus

I liked Michael Cera a lot, and thought that it was nice that the parents weren't clueless movie parents.

cheers,

-the Jesus
Did we see the same movie? I did not like the Michael Cera character at all, and the parents were stereotypical clueless movie parents. (Even though they did redeem themselves at the end)
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Old 01-31-08, 06:46 PM
  #216  
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Originally Posted by Lateralus
Did we see the same movie? I did not like the Michael Cera character at all, and the parents were stereotypical clueless movie parents. (Even though they did redeem themselves at the end)
Liking or not liking Michael Cera aside, the parents acted completely rationally about the pregnancy, not in a big over-the-top "oh god, you've ruined your life" way, which is what I would consider stereotypical for this kind of movie. Sure, they were disappointed with her, but they supported her.
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Old 01-31-08, 06:58 PM
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Originally Posted by FinkPish
Liking or not liking Michael Cera aside, the parents acted completely rationally about the pregnancy, not in a big over-the-top "oh god, you've ruined your life" way, which is what I would consider stereotypical for this kind of movie. Sure, they were disappointed with her, but they supported her.

I guess the scene that I did not like is when she told them she was pregnant and there was no emotion at all they were both just kind of "meh"; then the first thing out of the step-mothers mouth was to get her on prenatal vitamins.
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Old 01-31-08, 07:03 PM
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Originally Posted by Lateralus
I guess the scene that I did not like is when she told them she was pregnant and there was no emotion at all they were both just kind of "meh"; then the first thing out of the step-mothers mouth was to get her on prenatal vitamins.
But that's more realistic to me, not really stereotypical or clueless. The expected stereotypical reaction is that they would fly off the handle and scream at her for being stupid and irresponsible, but instead they just took a deep breath and came at it rationally. That's what made that scene so funny and endearing to me.
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Old 01-31-08, 07:10 PM
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Originally Posted by FinkPish
But that's more realistic to me, not really stereotypical or clueless. The expected stereotypical reaction is that they would fly off the handle and scream at her for being stupid and irresponsible, but instead they just took a deep breath and came at it rationally. That's what made that scene so funny and endearing to me.
Plus their reactions after she left the room were priceless. Especially after learning it was Bleeker's.
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Old 01-31-08, 07:21 PM
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And the dad got a good jab in about her being "that kind of girl". There was obvious disappointment, but acceptance of the reality of the situation.
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Old 01-31-08, 10:23 PM
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To the above posters who answered my question regarding why they particularly liked the direction of Juno, thanks.

In response, I am aware that there is more to directing than where to place the camera, but while I whole heartedly ascribe to the auteur theory. I believe that the script in Juno controlled more than the direction. I believe the pacing and film's climax are owed in large part to the way the script was written. The film is mostly a collection of self-knowingly "cool" phrases, not that it bothered me as much as others. There were never any extended moments that called for an atmosphere to be created by Reitman, all the feelings of the characters were easily expressed in the dialogue. In fact, I think the one scene in the film where Reitman needed to establish a particular feeling or mood, Bateman's omission to Juno that we is leaving his wife, was completely botched. Reitman completely undercut Bateman's character turning him from the cool, repressed, rushed yuppie hipster-type into a creepy old man by shooting him dancing with Juno like John Hughes would shoot Molly Ringwald dancing with the prom king. I was able to get passed that, but that single scene derailed the movie for me for at least 5 minutes before I could shake it and get back into the story. The way Bateman's character was introduced via the script, I do not believe that he was supposed to be a "bad guy," such a simple minded archetype IMO is not within the spirit of the film.

As for his pacing, I found it to be a bit off, I felt he let moments linger a second or two too long to the point where the awkwardness of the scene, the mall scene in particular, became too much. That was another example I think of where Reitman's direction got in the way as the scene should have played as hurting beauty, a clearly loving deserving mother connecting with "her" baby as it is in another's womb. Yet, Reitman made things linger a tad too much there and turned the whole think into inexplicable awkwardness. Another instant IMO of him getting derailed once the dialogue stopped and he was called on as the director to set a mood consistent with that of the overall film. We are called on in Juno to believe that a teen pregnancy can be so easy to make the film work, the mall scene undercut this and forced the fact that this movie is so utterly not based in reality on the audience as we realized how awkward (read: creepy) the exchange between the characters at the mall was.

I admit that a baseless "this is Wes Anderson Lite" claim is quite glib, but hopefully I expressed my reasons for thinking of Reitman's direction in Juno as nothing more than "serviceable" a bit better above.
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Old 01-31-08, 10:50 PM
  #222  
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^^ It all depends on how you look at it, I read the mall scene as the moment where Juno realized it wasn't all as easy as she thought and where she figured out for certain that the baby was going to Vanessa, I didn't feel any of the scenes in that particular sequence were overdone. Of course, it's situations like that where taste steps in, some see it was growth, others as betrayal. And I think the creepy old man is exactly what Bateman was turning into. A 40 year old man-boy, though I can definitely see the scene as off putting. It suited his character, the mix of getting to hang out with a younger person with similar interest and the impending threat of a baby, it seemed like a rather logical ending point for him.

All and all though, it's going to vary with person to person I suppose, but the fact you felt anything at all sort of says something.

Last edited by RichC2; 01-31-08 at 10:58 PM.
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Old 02-07-08, 01:59 PM
  #223  
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Just saw it, loved it. But have a dumb question... what did Juno write on that note she gave Vanessa that ended up on the wall?
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Old 02-07-08, 02:01 PM
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She wrote this

Spoiler:
If you are still in, I'm still in


something to that effect.
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Old 02-07-08, 02:12 PM
  #225  
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After seeing this a 2nd time, I went from liking it to loving it. For some reason all the jokes, scenes, etc. worked better for me.
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