Juno! Despite the fact that my friend Derek says “the last movie i hated more was called sideways,” it’s certified a whopping 93% on the Tomato Meter. Yes, this tale of a plucky pregnant teenager has wowed the legions of middle aged critics across the country, despite the fact that many of them are still trying to figure out exactly what one character meant when she used the term “Honest to Blog.” (Note: I was heavily conflicted while watching a screener copy that a neighbor lent me. In the end, I think that the scene where she confronts George Michael and their exchange about how cool he is without even trying be may have been hilarious enough on its own to overshadow the negative parts, (see above “blog” quote.))
But just as important is the soundtrack, which features the newest band to perfectly illustrate the music snob venn diagram, The Moldy Peaches and their singer Kimya Dawson. It’s being reported that the soundtrack album was the top seller in the country last week, and it’s causing quite a bit of hand wringing amongst the fans of
the new Shins The Moldy Peaches/Dawson.
I can’t listen to Anyone Else But You the same anymore. When I heard it in Juno I thought it was cute, but now it’s in half of my friends profiles on Myspace and it’s pretty much overplayed. – sample comment on Last.fm
I know how they feel. After “Rugrats in Paris” came out, I had to have my will altered so I could remove the section where I specified that I wanted “Who Let the Dogs Out” played at my funeral. It just wasn’t the same after all those five year olds saw that movie. I would instruct the distraught fans of Ms. Dawson to consult with Bob Dylan fans who have gone through a similar “myspace overdose” ordeal recently, but Bob Dylan fans are not morons and they actually have not, so no dice there.
To end, I’d like to say that I probably did enjoy Juno much more than I wanted to. I respected that there were no cheap shots taken in terms of making any one a villain. I was, however, very disappointed to learn that Juno’s dad was not Mr. Kruger from Seinfeld (the guy that deems George “Koko” and attends the Festivus party), but instead J. Jonah Jameson from Spiderman
But for a movie that didn’t really take any cheap outs with its characters, it certainly did on the music. A particular low was when the “have the character play a song and make another character listen to it” device that I would guess is really overused in “High Fidelity” is broken out. Jason Bateman is really depressed, so he forces Juno to shut up and listen to the Sonic Youth cover of The Carpenter’s “Superstar.” To me, it isn’t much different than a if a character were to say “Hey, watch this” and then showing a really funny scene from The Simpsons or the dramatic conclusion of The Godfather. It’s one thing if the music complements the emotion of what’s happening, it’s another to ask it to substitute for it entirely.
Anyways, the version of “Superstar” on “Mad Dogs and Englishmen” came on while cooking dinner tonight, and it got me thinking about one specific point that provoked this way too long post:
Someone* really gave up on the lyrics halfway through the chorus:
Don’t you remember you told me you loved me baby
You said you’d be comin’ back this way again baby
Baby, baby, baby, baby oh baby
Do you get my point or should I say baby some more?
I would write more but I am currently third in line for “Untraceable” (11 more days!!!!) and the second in line guy wants his iPhone back.
*Most likely Cat Stevens. I totally can’t listen to that guy ever since Rushmore came out.