Juno (Canada/ USA, 2007)
Directed by Jason Reitman
Starring Ellen Page, Michael Cera, Jennifer Garner, Jason Bateman
One of cinema's most endearing and important qualities is its ability to stimulate debate about the important issues of the day. Films can hold a mirror up to society in a manner which resonates like no other, using a variety of visual and verbal languages to shed light on injustice, hypocrisy and absurdity, and reveal more about ourselves in the process. In an age where the default setting for our culture would seem to be mindless escapism, films which can provoke such a reaction should be encouraged and promoted at any cost.
Lou Lemenick in The New York Post - argued that this was Juno's choice as a free agent with control over her own body. But whatever arguments you most gravitate towards, for whatever reasons, to come down firmly on one side or another is to miss the point.
Jennifer's Body, to assume that she is primarily interested in female empowerment and that logically the film is therefore pro-choice. The argument goes that you cannot have a 'strong female character' (itself a dangerously loaded phrase) who isn't in control of her own actions. In fact Cody's writing, at least here, is far more ambivalent, reflecting the indecision and lack of grounding exhibited by the generation she writes for - a generation which picks and chooses the values which suit it at the time, and which struggles with any concept of absolutes or a higher moral standard.
The Breakfast Club, the notion that children are more able to figure out their problems than adults - or at least, are more willing to openly discuss them. Where a weaker film would have got bogged down in the awkward conversations between Ellen Page and Michael Cera, whose relationship is largely meandering, Cody and Reitman contrast the young lovers with a series of different adult relationships, all of which are dysfunctional in some way. Juno arrives at her decision not because of social attitudes or direct pressure, but from a rejection of the attitudes exhibited by the worst of these people.
Scott Pilgrim vs. the World.
Ghostbusters -, the comedy in Jason Reitman's films has never felt forced. You never get the sense that he is contriving a given situation, or rocking back and forth behind the camera praying that something funny will happen. He trusts the performers to get the best out of the material, and his role is to make them feel as comfortable as possible.
(500) Days of Summer two years after this. After the comic-book panel-style opening, which just screams "Sundance Film Festival", the visual style settles down nicely, with emphasis on earthy colours like greens, browns, ochres and deep reds. With such a zinger-laden script, the natural temptation would have been to make the visuals as off-kilter as, say, Ghost World, but Steelberg and editor Dana E. Glaubermann hold their nerve, to their credit and to the film's benefit.
NEXT REVIEW: Hard Candy (2005)