No one saw Juno coming, but its success snowballed from the beginning. The movie quickly won over fest audiences ("I don’t know when I’ve heard a standing ovation so long, loud and warm as the one after Jason Reitman’s Juno," remarked critic Roger Ebert after the movie's Toronto Film Festival premiere) before going on to earn $231 million at the box office and, before the end of its theatrical run, four Oscar nominations (one would turn into a win for breakout writer Diablo Cody and her screenplay). No one predicted the little coming-of-age indie would become one of the biggest hits of 2007, and certainly, no one thought it would start a craze. A hamburger phone craze, to be exact.
Upon its December release, Reitman's dramedy found a teenage audience and scads of supporters like Ebert. How? A lot of things were working on Juno -- a combination of a great script, a talented cast, and a singular creative vision. But it was also packed with oddly specific quirks. When you think of Juno today, some probably come rushing back: the Barry Louis Polisar and Moldy Peaches songs; Diablo Cody's hilarious dialogue (shout-out to "pork swords"); Michael Cera's insane gold shorts; and, of course, "What? Can you just hold on for a second? I'm on my hamburger phone." Hands down the most iconic and unforgettable prop was that kitschy plastic phone, wielded shamelessly by Ellen Page's title character.