The Chicago Sun-Times’ Jim DeRogatis, a contrarian’s contrarian, lights out after “Juno.” He doesn’t like Juno’s twentysomething lingo, the handling of the abortion decision, or the portrayal of the abortion clinic. And then there’s the music:

We can debate whether the message of “Juno” is anti-abortion and therefore anti-woman, despite its arch post-feminist veneer. But there’s no arguing that the movie is anti-rock, at least if we still define rock as an honest expression of youthful rebellion.

Sure, Juno gives lip service to Iggy and the Stooges and Patti Smith. But there isn’t a hint of the anger and lust for life of those pioneering punks in the sort of twee indie-rock that Juno loves. The soundtrack is dominated by the sickeningly saccharine Belle & Sebastian, Cat Power, Antsy Pants and most of all Kimya Dawson, who claims seven of the 19 tracks.

“Juno” is a strange film. It tries hard to look like an indie movie, but it’s really an “outie,” a mainstream endeavor tricked up a bit to seem out of the ordinary. (The director, Jason Reitman, son of Ivan, previously did the competently handled, unadventurous “Thank You for Smoking.”) I see the strain the opening ten minutes, where the odd patois Juno and her friends use does indeed threaten to run right off the rails. But it must be said the movie gains control of itself soon enough, and goes on to show genuine insight and sympathy for the two yuppie parents, and immense directorial skill in the handling of their personality reveals. The entire affair is also keenly cast, and you have to be a DeRogatis-level curmudgeon not to be taken with Juno’s brave face.

That said, the film’s musical politics are mystifying. What DeRo finds reprehensible I find just chaotic. How Juno can like the Stooges but seem largely unfamiliar with Sonic Youth is beyond me, and the idea of Justin Bateman in a band that opened for the Melvins, a marginal, early-‘90s purveyor of sludge rock, is more than a little preposterous. I don’t know how the airily insubstantial soundtrack is supposed to fit into Juno’s musical aesthetics, what the point was of the “All the Young Dudes” sequence, or why in heaven uptight exec Jennifer Garner is wearing an Alice in Chains t-shirt. During the movie, paraphrasing Mandy Patinkin in “The Princess Bride,” I thought to myself, “I do not think that band means what you think it means.”