A coming-of-age rom-com that focuses more on the heartbreak than the laughter. Juno’s relentless quirkiness, philosophical depth, and political shades are vastly entertaining, yet alarming and enclosing. But conversely, are a much welcomed and appreciated cinematic suffocation. Juno might appear to be harmless and vindicated on the surface…In retrospect, underneath its harmless exterior is a set of disturbing and harsh realities. Not everything about this unorthodox film is doom and gloom. The vibrant, bitter story is carried along by a light, rather breezy hilarity that’s closer to masking the fallacy of invisible innocence than outrightly distracting the viewer from it. Containing a script filled with oddities, performances that mar the line of morality, and innovative direction. Juno is a romantic comedy for past, present, and future generations to come.

Sometime in autumn, Juno (Page), a 16-year-old high school student living in Minnesota, discovers she is pregnant. The father is Paulie Bleeker (Cera), a fellow classmate and friend whom she spent one night in a big chair having sexual relations. Juno decides to have the unborn child aborted at a local clinic. But upon arriving, Juno has a sudden change of heart and decides to give birth and give the baby to a couple willing to adopt. After an extensive search, Juno finds the perfect parents in Mark (Bateman) and Vanessa (Garner). When all the papers are signed, Juno continues on with her schooling and life as planned, waiting to give birth. What she doesn’t realize is the physical and emotional toll the next 9 months will force upon her.

Harnessing the charisma, honesty, and charming irregularities of its shy, solidified cast. Juno features Michael Cera, Ellen Page, and Jason Bateman as the funny, at times troubled leads. With Jennifer Garner, Alison Janney, and J.K Simmons supporting as they exude their usual comedic genius. By a wide margin, Page takes top spot for her performance as Juno. As the lead, Page is forced to deal with, not only a significant body change, but also an unprecedented, rapid ascent into maturity and she captures these facets in their entirety, effortlessly. Following up Page is Bateman who’s a close runner up. Showcasing a much more artistic and serious side to his usual hilarity. Bateman is incredible as a confused, helpless, deviant looking for an escape. Cera doesn’t diverge from his typical behaviour and believably falls for the girl, hard. As a unit, Juno’s ensemble couldn’t have performed any more faultless.

Diablo Cody, writer of Juno, and director Jason Reitman give new life to a failing genre. With a unique sense of humour and circumstances that break the mould, Juno is cinematic evolution. Reitman and Cody up the ante by forging an encompassing situation that affects not only the typical protagonists in a rom-com. But residually, albeit indirectly dismantles anyone who’s connected. Reitman’s staggering ability to consume a story’s identity and regurgitate it to his viewers in a emotional, meaningful, visually spectacular way is worthy of unconditional appreciation. Juno is existing proof that you don’t need to break the bank or complicate the story to make a film that sticks in the viewers mind. Using what it has to make the viewer laugh, cry, and appreciate what is truly important, Juno is a modern classic.

Showing the intricacy in what is seemingly a simply event. Juno’s implicitly and adoring nature is worthy of the audiences heartfelt endearment and empathy.

Juno: 9 out of 10.