Juno (film) - Wikipedia. This article is about the film.

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For other uses, see Juno. Juno is a 2. 00. 7 American coming of agecomedy- drama independent film directed by Jason Reitman and written by Diablo Cody. Ellen Page stars as the title character, an independent- minded teenager confronting an unplanned pregnancy and the subsequent events that put pressures of adult life onto her.

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Michael Cera, Jennifer Garner, Jason Bateman, Allison Janney and J. K. Simmons also star.

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Filming spanned from early February to March 2. Vancouver, British Columbia. It premiered on September 8 at the 2. Toronto International Film Festival, receiving a standing ovation. Juno won the Academy Award for Best Original Screenplay and earned three other Oscar nominations, including Best Picture and Best Actress for Page. The film's soundtrack, featuring several songs performed by Kimya Dawson in various guises, was the first chart- topping soundtrack since Dreamgirls and 2. Century Fox's first number one soundtrack since Titanic.

Juno earned back its initial budget of $6. It went on to earn $2. Juno received acclaim from critics, many of whom placed the film on their top ten lists for the year. It has received criticism and praise from members of both the pro- life and pro- choice communities regarding its treatment of abortion. Plot. Sixteen- year- old Minnesota high- schooler Juno Mac.

Guff (Ellen Page) discovers she is pregnant by her friend and longtime admirer, Paulie Bleeker (Michael Cera). She initially considers an abortion. Going to a local clinic run by a women's group, she encounters a schoolmate outside who is holding a one- person protest for pro- life vigil. Once inside, however, a variety of factors lead Juno to leave. She decides against abortion, and she decides to give the baby up for adoption. With the help of her friend Leah (Olivia Thirlby), Juno searches the ads in the Pennysaver and finds a couple she feels will provide a suitable home. She tells her father, Mac (J.

K. Simmons), and stepmother, Bren (Allison Janney), who offer their support. With Mac, Juno meets the couple, Mark and Vanessa Loring (Jason Bateman and Jennifer Garner), in their expensive home and agrees to a closed adoption. Juno visits Mark a few times, with whom she shares tastes in punk rock and horror films. Mark, who has set aside his rock band youth (now confined to memorabilia displayed in the one room of the house that Vanessa has designated for Mark's personal belongings), works at home composing commercial jingles. Juno and Leah happen to see Vanessa in a shopping mall being completely at ease with a child, and Juno encourages Vanessa to talk to her baby in the womb, where it kicks for her. As the pregnancy progresses, Juno struggles with the emotions she feels for the baby's father, Paulie, who is clearly in love with Juno. Juno maintains an outwardly indifferent attitude toward Paulie, but when she learns he has asked another girl to the upcoming prom, she angrily confronts him.

Paulie reminds Juno that it is at her request they remain distant and tells her that she broke his heart. Not long before her baby is due, Juno is again visiting Mark when their interaction becomes emotional. Mark then tells her he will be leaving Vanessa to figure his life out. Juno is horrified by this revelation, with Mark asking Juno " How do you think of me? Mark is starting to develop feelings for Juno. Vanessa arrives home, and Mark tells her he does not feel ready to be a father and there are still things he wants to do first. Juno watches the Loring marriage fall apart, then drives away and breaks down in tears by the side of the road.

Returning to the Lorings' home, she leaves a note and disappears as they answer the door. After a heartfelt discussion with her father, Juno accepts that she loves Paulie. Juno then tells Paulie she loves him, and Paulie's actions make it clear her feelings are very much reciprocated. Not long after, Juno goes into labor and is rushed to the hospital, where she gives birth to a baby boy. She had deliberately not told Paulie because of his track meet. Seeing her missing from the stands, Paulie rushes to the hospital, finds Juno has given birth to their son, and comforts Juno as she cries.

Vanessa comes to the hospital where she joyfully claims the newborn boy as a single adoptive mother. On the wall in the baby's new nursery, Vanessa has framed Juno's note, which reads: " Vanessa: If you're still in, I'm still in. — Juno. The film ends in the summertime with Juno and Paulie playing guitar and singing together, followed by a kiss. Cast. Themes"You can look at it as a film that celebrates life and celebrates childbirth, or you can look at it as a film about a liberated young girl who makes a choice to continue being liberated. Or you can look at it as some kind of twisted love story, you know, a meditation on maturity."—Diablo Cody.

Along with Knocked Up and Waitress, two other 2. Juno was interpreted by some critics as having a pro- life theme. Ann Hulbert of Slate magazine believed that Juno "[undercut] both pro- life and pro- choice purism."[6] Jeff Dawson of The Sunday Times believed that the film was inevitably placed in the "unwanted pregnancy subgenre" with Knocked Up and Waitress due to its subject matter but thought that its interpretation as a pro- life film only "muddied the waters".[7]Hadley Freeman of The Guardian criticized Juno for "complet[ing] a hat- trick of American comedies in the past 1. I don't believe any of these films is consciously designed to be anti- abortion propaganda."[8]A. O. Scott, writing for The New York Times, agreed that Juno has "an underlying theme, a message that is not anti- abortion but rather pro- adulthood."[9] Ellen Page commented, "What I get most frustrated at is when people call it a pro- life movie, which is just absurd.. The most important thing is the choice is there, and the film completely demonstrates that."[1. Cody and Page have openly stated that they are pro- choice; [1.

Reitman thought that it was "fantastic" that pro- life and pro- choice groups were embracing the film.[1. He said that "Juno seems to be a mirror, and people [on both sides] see themselves in it."[1. Other critics labeled Juno as feminist because of its portrayal of Juno as a confident and intelligent teenage girl. Antifeminist. Phyllis Schlafly wrote that Juno's theme "isn't love, romance, or respect for life, but the triumph of feminist ideology, i.

Wesley Morris of The Boston Globe concluded "Juno serves cool, intelligent girls something they rarely see in a movie: themselves."[1. Cody said about writing the film, "Women are clever, women are funny, women are sharp, and I wanted to show that these girls were human and not the stereotypical teenage girls that we often see in the media"[1. There was a lack of authentic teen girl characters .. I saw writing this screenplay as an opportunity to create an iconic female."[2] Page praised the film for its positive depiction of teenage girls, describing Juno's character as "really refreshing and allow[ing] for new possibilities in what young women can be"[1. Girls haven't had that sort of character before. We don't have our Catcher in the Rye."[2] She criticized the media perception of her character as a "strong woman", arguing that if Juno were a male character, the "strength" of the character would not be considered remarkable.[1.

Reitman was interested in the personal/political conflict for Vanessa's character: "Feminism has paved the way for Vanessa’s career, but ultimately Vanessa wants to be a full time mother."[1. Production. Development. Diablo Cody wrote the film based on many of her own high school experiences. Diablo Cody was first approached to write a screenplay by film producer.

Mason Novick, who had previously landed her a book deal for her memoir, Candy Girl: A Year in the Life of an Unlikely Stripper, after discovering her blog about stripping.[2.

Media Rights Capital'Ozark' Was Most Popular Streaming Show This Summer, According To New Audience Metric. By Michael Schneider. A few months ago, a Netflix exec mused to Indie. Wire that he was actually surprised that the streaming service’s viewership data hadn’t leaked out.

Plenty of Netflix insiders know exactly who’s watching what, and when. Yet, the streaming giant has managed to keep its ratings under lock and key. Accurate data remains a mystery to even top- level Hollywood execs outside of the Netflix bubble. That’s starting to change, as more services chip away at the facade of Netflix ratings.

Parrot Analytics has made headlines recently with its proprietary “Demand Expressions” metric, which looks at a variety of factors in determining a digital program’s popularity. And according to a new study revealed exclusively to Indie. Wire, the Jason Bateman drama “Ozark” led the pack among all streaming shows over the past 9. Demand Expressions” measures audience demand for a title — including streaming, social media, blogging, file sharing, blogging, comments and other sources. The measurement is weighed by importance, which means a stream or download take precedence. As for the Parrot Analytics data, the company shared the top 1. United States over the past 9.

Netflix easily dominates the roster. The sleeper hit “Ozark” actually topped the charts, while CBS All Access’ “Star Trek: Discovery” was No. Netflix’s “Stranger Things,” which remains popular even before the launch of Season 2. Hulu makes an appearance with Emmy winner “The Handmaid’s Tale,” but as has been discussed recently about the lack of buzz surrounding Amazon Prime’s programming, none of that service’s shows make the top 1.

Visit the article at Indiewire. Ozark’ Renewed for Season 2. By Joe Otterson“Ozark” has been renewed for Season 2 at Netflix, Variety has learned. Like the first, the second season will consist of 1.

The series follows financial planner Marty (Jason Bateman) and his wife Wendy Byrde (Laura Linney). Without warning, Marty relocates the family from the suburbs of Chicago to a summer resort community in the Missouri Ozarks after a money laundering scheme puts him in the crosshairs of a Mexican drug lord.

Bateman directed multiple episodes in addition to serving as an executive producer. Chris Mundy executive produced and wrote for the series.

Bill Dubuque and Mark Williams created the series and also executive produce. The series is produced by Bateman’s Aggregate Films in association with Media Rights Capital for Netflix. The series has received mostly positive reviews, with Variety‘s Sonia Saraiya writing: “ The taut thriller veers close toward storytelling pitfalls that other prestige dramas have made — strippers, money laundering, infidelity, a sex tape, bags of cash, barrels of acid — but deftly avoids falling into the bleak soup of bloated streaming dramas about a tortured male soul.

Ozark’ so carefully guides the audience through the story that it is one of the most compulsively watchable debuts of the year — a crime story that is part- thriller, part- caper, and endlessly surprising.”Netflix also recently renewed freshman comedy “GLOW,” which is a fictional account of a real all- female wrestling TV show from the 1. That renewal came on the heels of the cancellation of the drama series “Gypsy” starring Naomi Watts. Read the full article of Variety. Baby Driver Zooming Past $1.

M At Domestic B. O. By Anythony D'Alessandro.

The Edgar Wright- directed action movie ballet will break the $1. M threshold by tomorrow according to rival estimates. Baby Driver, made by Sony/Tri. Star, Working Title and Media Rights Capital to the tune of a net production cost of $3.

M, has been a breath of fresh air at a summer box office given its originality amid a litter of Nth franchise sequels, many of which have fallen short of providing any gas at the B. Showtime Full Made In Heaven Online Free. O. (take your pick: Alien: Covenant, The Mummy, Transformers: The Last Knight, etc.).

Baby Driver is a clear example of Sony Pictures motion pictures group chairman Tom Rothman’s mandate at the studio: Make ambitious, original fare at a reasonable price so that there’s plenty of upside. In addition, Baby Driver is a big win for Hannah Minghella’s Tri. Star Pictures. Much like Jordan Peele’s Get Out before it, what Baby Driver proves in this streaming age, is that audiences will drive to the multiplex to watch riveting, original, lower budget fare. Just because a film is considered niche and risky, doesn’t necessarily mean it should just be destined to home audiences. Watch Dance Academy: The Movie Download Full. On the opposite end of the spectrum, we have another brilliant summer film like Netflix’s $5. M- plus budgeted Okja, which despite its grand launch at the Cannes Film Festival, isn’t continuing to generate great buzz because it’s been shackled to the small screen.

The way that Wright coordinates car chase sequences with punctuating sound and the rhythm of hard rock songs like Queen’s “Brighton Rock” or Jon Spencer Blues Explosion’s “Bell Bottoms” is something to behold on the big screen, not a 7. K television. Top this off with Ansel Elgort and Lily James’ smoldering chemistry, and you have a movie. Sony has been great about putting its below the line contenders out there during awards season, and Baby Driver should be in the mix. Currently, Baby Driver is playing at 8. M this weekend (and if it doesn’t clear $1.

M by tomorrow, then it will on Monday). In the pic’s seven weekend run, Baby Driver has averaged a - 3. Sony is currently planning to take the movie wide again during the weekend of Aug.

Worldwide, Baby Driver stands at $1. M. Sony started the engines on this movie back at SXSW with a marketing/publicity campaign led by Danielle Misher, EVP of Tri. Star marketing. Baby Driver earned great reviews and slotted a 1. Rotten Tomatoes score before opening, and leveraged that in their trailers.

Damon Wolf, the head of creative advertising for Tri. Star, led the charge on creating the high octane, retro- style promos for the film with colorful vintage design posters and award- winning million- plus- view trailers (Best Action Trailer at 2.

Golden Trailer Awards). From the onset, Baby Driver has been Wright’s highest grossing title of his career both on an opening and running total basis. He hatched the feature from an idea he formulated years ago. Originally, the industry saw a $2. M take for Baby Driver in its five- day opening, but the pic trumped expectations during an Independence Day stretch with $2.

M, and $3. 9M in its first week of release. According to Com. Score/Screen Engine, Baby Driver, rated R, drew mostly males at 5. Read Full Article At Deadline. Breaking Bad Fans Have Found Their New Fix In Jason Bateman–Starrer Ozark. Rotten Tomatoes By Andrea Reiher August 4, 2. Have you heard about Ozark?

It’s Netflix’s latest original drama, and after a somewhat quiet debut on July 2. The series, which currently has a 6. Tomatometer, stars Jason Bateman as Marty, a financial advisor who has been laundering money for a drug kingpin. When his partner is caught cheating the business, Marty uproots his family to move the operation to the scenic Ozark Mountain region of Missouri, where they struggle to fit into this brave new world. Fans are comparing it to movies like Pulp Fiction and No Country for Old Men, but the biggest comparison it’s getting on social media is to the Bryan Cranston Emmy- winner Breaking Bad. But the show is more than standing on its own, with fans praising the writing and direction. Bateman actually directed four of the 1.

Fans are on board for this darker, twistier Bateman, who in recent years has mostly been known for his work on Arrested Development — and some fans enjoy imagining that Marty is really just bizarro Michael Bluth. Fans are expecting Bateman and the show to get at least one (if not several) award nominations for its writing, acting, and directing.