Want all this in your inbox?
Get the Refinery29 Newsletter
You're in for a treat...
Thanks for signing up!
Please upgrade your browser for the best Refinery29 experience. Read more.
For Keeps (1988)
Two years after Pretty in Pink, Molly Ringwald starred in this Reagan-era misfire as a high school senior on her way to college when...bam! The stork arrives. Against their parents' wishes, she and her BF (Randall Batinkoff) get hitched and decide to give family life a go. The movie is dated and uneven, but give it credit for tackling real-life issues, like the struggle to make ends meet working multiple minimum wage jobs and battling postpartum depression.
(The idea of a teen couple marrying after an unplanned pregnancy was revisited on the TV series The Secret Life of the American Teenager...also co-starring Ringwald.)
Nine Months (1995)
Sigh. Not the finest hour for Hugh Grant or Julianne Moore. Directed by Chris Columbus, the movie sometimes plays like a greatest hits of sexist stereotypes, with Joan Cusack as an overbearing mother of many (a part she would go on to play in an endless loop), and Grant's lothario accusing his girlfriend (Moore) of messing with her birth control so she could "trap him" in a pregnancy.
The Object of My Affection (1998)
The romantic plotline is a stretch: GBF (Paul Rudd) once had sex with a woman, so it's perfectly plausible that another woman (Jennifer Aniston), who's pregnant with another man's child, could fall in love with GBF and hope for a viable relationship with him. That said, there are progressive story elements as well, notably how Aniston's character decides to break things off with her baby's father because she knows the relationship is a dead end, and how she tries to form a nontraditional family with the her gay platonic soul mate. It's an idea echoed in recent TV shows like Ellen DeGeneres' One Big Happy.
This modest indie hit managed to find sweetness in satire. A send-up of conservative Christianity in America, it tells the story of a high schooler (Jena Malone) whose classmates ostracize her when she becomes pregnant. The movie tackles ineffective sex-ed ("And good Christians don't get jiggy with it until they're married"), and the idea that gay children can be shipped off to "corrective" programs. A bold take on how blind communities can be to anything they don't want to see.
For all its snark and attitude and hipster signposting (a hamburger phone! The Moldy Peaches!), Juno is ultimately a tender, sensitive look at two kids (Ellen Page and Michael Cera) who make the painful decision to give up their unborn, unplanned child for adoption. We could have done without the depiction of the abortion clinic as an unwelcoming horror show, though.