With the success of Garden State's soundtrack—it reportedly sold 1.2 million copies, including one someone very close to me bought having never seen the film—it was only a matter of time before another indie-darling charted with a collection of songs already available elsewhere.

Enter Juno, an immensely hyped film that despite being decent but not great managed to score an Oscar nomination and climb to the top of the Billboard charts with its soundtrack of previously released material, featuring in large part songs from a Kimya Dawson album that was anything but mainstream a few months ago.

Dawson, the jittery folk-influenced punk from Seattle, Wa., is understandably uneasy and concerned with the attention. She has no manager, no booking agent, no plans to leave K Records and yet she's suddenly getting booked on "The View." Devoted fans of the indie artist—a friend of mine has tried to turn me onto her music for years now—most likely were drawn to her in the first place because she wasn’t on network television sporting her "Laff Loud" tattoo.

That’s what makes the success of the Juno soundtrack (more than 250,000 copies sold to date en route to this week's top spot in the charts) even more annoying than the flawed little movie that started it all. A lot of the reviews of the soundtrack, sounding an awful lot like reviews for the aforementioned 2004 film before it, mention how integral the music is to the film and how carefully placed they are. Music has and always will play an integral part in film, but a movie loses some of its edge when it is so focused on the soundtrack that it is piloting the final scene toward one final incidental product placement.

I was able to suspend my disbelief enough to buy that a pregnant 16-year-old could sound more like a 20-year-old hipster than the teenage mothers I often see pushing kids in baby doll strollers. And I was able to buy the scenester point exchanges between Page and Jason Bateman, I mean Juno and Mark, because I used to do the same thing with friends in high school. What drove me nuts was the awkward pace and set-up of the teenage would have been parents re-singing the Moldy Peaches song in the front yard, acoustic guitars firing. Maybe it's because I was waiting for some neighborhood bullies to come along cussing them out, throwing trash, rotten fruit or even water balloons from a car—I once got in trouble with the cops throwing water balloons from my brother’s car at skaters—or the camera to pull back and show that it was all a dream.

What amazes and infuriates me most of all is how a film that obviously owes so much to the much older, wiser and more polished step-brother that is Wes Anderson's catalog—there's someone who knows how to put music in a film without it being a distraction—wins over the same folks that nitpicked Darjeeling Limited into oblivion. When "Little Miss Sunshine" got the Oscar nomination a year ago, I lamented over its "Weekend At Bernie's" moments, but cheered as a beautiful instrumentation of Sufjan Stevens’ "Chicago" figuratively blared from the speakers of a bright yellow Volkswagen bus.

Juno and its accompanying soundtrack, however, just continue to irk me.

I understand people will be turned onto new music as a result—a long forgotten soundtrack turned me onto Daniel Johnston for the first time—and as someone who loves introducing and being introduced to new music I like that. But I also cringe at the way indie music these days seems to require some sort of crossover marketing gimmick to make any kind of dent.

Scores and music specifically recorded for the film aside, it's a shame a bad reality show on MTV or a trendy film is what is required to gain a band exposure. J. Edward Keyes, editorial director for eMusic, recently posted a run-down of the Juno soundtrack on the site for subscribers, directing them toward albums and other music they might also like. As always, Keyes (an old friend of this publication) does a marvelous job writing about the individual tracks and the role they each play in the film without ignoring the reality that when Juno is no longer the "it" release climbing the charts in a dismal season of sales there will be great records to discover, explore and experience.