Set in Minnesota (some of it in Saint Cloud) Juno has a certain appeal to it that reaches beyond the simple yet appropriate soundtrack, the impeccable cast and clever writing. Director Jason Reitman (Thank You for Smoking) has created a movie full of heart.

Juno McGuff (played by soon-to-be-nominated Ellen Page) plays a sixteen year old with her own unique blend of self confidence, smart-mouthed arrogance, cynicism, feigned independence, and aloof self-determination that is so right in so many ways. Page nails it. Writer Diablo Cody nails it. And Michael Cera has built an entire career upon it. Anyone who doesn’t like Cera has deep seeded issues which they need to resolve on their own terms. From Arrested Development to Superbad to Juno, Cera has shown an interesting arc as an actor. Every line of dialogue (while occasionally hokey) rings true for that age group and every action is utterly convincing; Cera may play variations upon the same character, but he invests that character with everything he’s got and plays it like his life depends upon it.

Juno has an interesting sneak attack, a way of skittering into your heart through the back door and falling asleep on the couch before you’re even aware of its/her presence. And it’s well aware of this. There’s an effortless charm, an intrinsic enticement that stems from being so awkward and so at ease that there is no alternative other than to fully embrace that which is uniquely you.

And that’s the charm of Juno: these characters know who they are and where their boundaries lie. They are not ones to be bogged down by relativism or morbidity. Instead, they celebrate their quirks, their limitations and their passions, without regard for what others may think. The film’s most poignant moment is when Juno tells Paulie Bleeker (Cera) that he’s the coolest person she’s ever met without even trying to be, and he confides “I try really hard, actually.” It’s a moment of honesty that few films — hell, few people — would dare.

These are people who understand they are not mass-marketable. They will appeal to their small coterie of friends, and they will cherish them for all their flaws and failings as much as for their virtues. But if they’re going to be disliked by the world at large, they’re going to be disliked on their own terms.

Characters like these could travel one of three roads: they could try to fit in with the so called “cool kids” and feel the sting of rejection, they could actively alienate people to prove a point, or they could become irrepressibly themselves in spite of the social acceptance they may forfeit. To many, the last two options may seem like the same thing in different words, but anyone who appreciates this film with their heart in addition to their brain will know that one will leave you empty whereas one will leave you edified. And those are the people who will champion these characters and smile uncontrollably during the film’s indefectible finale.

It would have been so easy for a film like this to degrade into silliness or ugliness, and yet somehow, Reitman, Page and Cody have colluded to create one of the greatest cinematic outcasts and one of the most unique, interesting, beguiling, and utterly irresistible coming of age films I’ve ever seen. It’s a winner, and it’s a classic.

**** (4/4)

A few days ago I finished reading Cormac McCarthy’s utterly majestic ‘No country for old men’ because I wanted to be out in good time before the movie hits our cinemas.
Unfortunately for us Europe is always behind when it comes to movie premieres which makes it utterly frustrating to check sites like IMDB and read people’s comments about how good or useless something is 4 months before I will even get near it. But I’m not bitter even though the longing to see this movie is giving me sleepless nights.

A fun thing that happened was that I decided to kill some time by compiling a list of my favourite big screen adaptations of great novels and since I mentioned lists, I think it’s suitable to start with High Fidelity. Never has a book resonated with me like this one because I’m a music geek and a complete curmudgeon way before I should be. The film is awesome as well. I watch it all the time and the casting is absolutely perfect. Nick Hornby’s books usually make for a very enjoyable transition to the big screen and ‘About a boy’ along with the original version of ‘Fever Pitch’ are comedies I can generally watch any time.

I’m writing this while watching ‘Wonder Boys’ for about the 27th time which should give an indication that I really love that adaptation as well. The book is one of my favourites of all time; I just love the utter weirdness and comic genius in it and I can’t find many faults with Curtis Hanson’s take on it.

The dialogue is unforgettable and I crack up every time Michael Douglas utters the following: “Ok James, I’m sorry you shot my wife’s dog. Just because me and Poe weren’t what you would call simpatico doesn’t mean he had to take two in the chest”.
Deadpan delivery at its best.

‘Fight Club’ along with ‘Fear and loathing in Las Vegas also need to be mentioned in this context. Classic novels and awesome films that will always top my list.
You’ll notice that I have neglected to mention several obvious choices but that is because I simply don’t find them as interesting as the above mentioned. These are my choices and a good portal to my tastes in popular culture. There are many more that can be mentioned here but if I continue then this is in grave danger of turning into an anthology, so we’ll cut it here.

Of course, none of the movies are as good as the books but that almost doesn’t need to be mentioned and it’s not the point either. This is just about mentioning the occasions when a director came close to capturing an author’s vision.

What’s the next list to have some fun with? I’m thinking favourite soundtracks for a possible next one…

Get rich quick schemes used to be reserved for late night television preaching riches if you mailed a nominal sum for the packet containing instructions on how to master said system. Currently at all hours of the day can you find someone promoting a “system” or insider knowledge that has as much to do with chance as anything else.

Surprisingly this is a main theme of the Coen Brothers’ latest film No Country for Old Men. Llewelyn Moss (James Brolin), arguably the main character, stumbles on a drug deal gone the way most movie drug deals go – poorly. A number of poor moral decisions lead him to finding a large sum of money that belongs to another man Anton Chigurh (Javier Bardem) who is probably the most terrifying villain since Robert Mitchum in both the 1962 Cape Fear and Night of the Hunter. Llewelyn’s desire to hold on to the $2 million leads him running down a path for his own life and the life of others.

As always with a film by the Coens the dialogue is the strongest point of the film and technically this is probably their best work. The big gripe about the film is the ending. It doesn’t really have one but at the same time it does. Sheriff Ed Tom Bell (Tommy Lee Jones) opens and closes the picture with a monologue. By paying attention to his scenes additional themes begin to develop and emerge from the story. The film isn’t so much plot driven - although it is for 80% of it - but revolves around the characters and their traits.

If you go in expecting everything to be tied up in a nice package like National Treasure then you will be disappointed. No Country for Old Men is closer to John Steinbeck’s East of Eden where the aforementioned Nicholas Cage project is closer to Where’s Waldo. The man in the striped red and white costume is there on the page, you just need to keep your eyes open. Steinbeck requires you to dig a bit deeper and examine the story and not just on the superficial Cain and Abel that they make reference to multiple times.

No Country for Old Men has layers of depth and meaning to it but it will require some work on the viewer’s part to dissect it. It is definitely worth seeing and might be one of the big winners come Oscar Night.

**** (4/4)