teenagers
And while nothing expressed here is groundbreaking, Futura is nonetheless a perfect, thoughtful time capsule of the age we’re currently in.
This newest incarnation of Saved by the Bell expertly blends its nostalgia with quick-paced comedy and an update of the original show for a modern audience.
While the premise feels like a joke, Dog with a Blog proves to be not just eminently watchable but also genuinely wholesome and entertaining.
Philophobia is a film where words are meant to have stories unto their own with connotations and nuggets of meaning buried within.
It was kind of odd coming of age in the early 2010’s and seeing these ultra-fantastic teen stories, yet Palo Alto proved to be in a league all its own.
A happy accident spit out the low-budget Hollywood machine, Teen Witch is compelling in a way that no individual person could pull off on their own.
Fireworks is both stunningly animated, and stunningly disappointing, hampered by a predictable love story that is neither compelling or insightful.
Even though it promises a scary journey, Against the Night fails on all levels. The poorness of its plot, direction, and performances make this already short film more unbearable than it ought to be.
The Babysitter is perfectly trashy popcorn entertainment, with a distinctive, highly-stylized vision and self-satirizing bite; a lesson in embracing genre conventions rather than falling victim to them.
Jumanji: Welcome to the Jungle is a surprising treat, modernizing the original film while also creating a fun, lively action-adventure.
Speech & Debate isn’t great, but is enjoyable despite its plot holes, and features a great performance from Sarah Steele.
Sometimes, Forever is a stylish, incisive look at teenage sexuality, and though it’s set in the ’90s, it does much to speak to our own time.
Horror films sometimes contain themes that focus on the primal fears of growing up; here are some prime examples of how they have done so.
Cents is a film about a teenager attempting to find her identity; though not without its shortcomings, it is a refreshing and admirable film.
Andrea Arnold is without a doubt cinema’s leading creator of stories depicting the trials and tribulations of working class women, with an entirely non-judgemental eye. Translating her social realist style across the Atlantic, keeping the inherent themes relevant to the lower classes intact, would seem close to impossible, although due to an unfortunate stroke of luck, the Presidential election has made the general idea of class in an overwhelmingly middle class country relevant yet again. Many audiences have been so transfixed by the way Arnold and her long-term cinematographer Robbie Ryan have captured the sweeping vistas of America, a world completely alien to the council estates of earlier films Red Road and Fish Tank, that they have seemed to ignore the fact this is unmistakably a distinctive piece of work.
