JUNEBUG: quirky, disturbing and adult.

The moral or the message of JUNEBUG if indeed one is intended, is that nobody's perfect and we should all just try to make the best of what we have. 
It's not a particularly uplifting or inspiring message when one considers the circumstances of the two characters chosen to convey it.

Ashley Johnsten (Amy Adams) is heavily pregnant and married to Johnny, a young man who's fallen into a deep depression at the prospect of impending fatherhood. While she cranks up her optimism levels to 11 to compensate, he mopes around like a moody teenager, barely able to grunt a monosyllabic word to her. 
Madeleine (Embeth Davidtz) is an art dealer from Chicago, newly married to Johnny's older brother George, who finds herself effectively abandoned by her husband when her brings her home to rural North Carolina to meet her in-laws for the first time. The moment he steps through the front door of the family home he reverts to a younger, pre-flight-from the family-nest version of himself leaving Madeleine to cope with his distrustful mother, distant father, sullen brother and Ashley, the hyper sister-in-law.
What's most disturbing about this scenerio is the willingness with which the two women put up with their husbands' selfish and unsupportive behaviour. Ashley's not booksmart but she's not stupid either yet she makes endless excuses for Johnny's behaviour, choosing to see him as still the handsome go-getting high school guy she fell in love with rather than the frustrated, withdrawn and angry man he's become. If she weren't so heavily pregnant you'd want to shake her to make her see sense.
Madeleine's passive acceptance of her husband's unbelievably selfish behaviour is even more reprehensible because she is educated, worldly and sophisticated. George leaves her alone with people she's never met before and who, with the exception of Ashley, are somewhat less than welcoming, yet she never once challenges him over his lack of support for her in this unfamiliar environment. 
This passivity on the part of two otherwise strong-willed and focused women is puzzling but it's not the only element of the story which challenges preconceptions. George's family may not be the backwoods hillbillies they appear to be, and Madeleine's enthusiastic embracing of her new discovery, an "outsider" artist who paints highly individual images of Civil War battles filled with figures sporting oversize genitals, suggests her university education and cultured manner aren't a guarantee of good taste and wise judgment.
JUNEBUG is as much about mood as it action and events. Everything unfolds at a leisurely pace punctuated by lingering shots of empty rooms which serve no real other purpose other than to impress upon us that director Phil Morrison isn't going to be rushed in telling his story. The culture-clash subject matter is not particularly original but the examination of it is unpredictably adult, and come the conclusion there's a sense of having experienced something meaningful and unsettling which refuses to be neatly resolved Hollywood style - a bit like real life.