teenage
The absence of parental guidance through the strategic use of antithesis allows Extracurricular to hold its characters accountable for their mistakes.
The Last Summer is a frustratingly empty addition to the coming-of-age sub-genre and might struggle to hold the attention of its intended audience.
Booksmart isn’t just a hilarious high school movie; it serves as a necessary reminder to rethink our initial judgments of people and actually try to get to know them instead.
Slut in a Good Way is an unapologetic celebration of first love, first heartbreak, and everything else that comes with being a teenage girl.
Giant Little Ones, directed by Keith Behrman, explores new territory in the teenage “coming out” film genre and it’s a refreshing, welcomed addition.
A spiritual forerunner to modern coming-of-age films like Eighth Grade and Lady Bird, Peppermint Soda is a charming glimpse at two teenage girls growing up.
Writer/director Melissa B. Miller Costanzo’s feature debut touches on the complex nature of relationships with a stunning visual eye, resulting in a thought-provoking journey into the ill-defined nature of transitioning into adulthood.
Given its clear desire to say something urgent about urgent things – given, that is, its sincerity – it’s hard to completely dismiss Reach.
To All the Boys I’ve Loved Before is a testament to how far young adult films have come, resisting stereotypes and cliches despite seeming to fall into a gimmicky premise.
For sheer distinctiveness of vision, and for the visceral portrayal of how it feels to be bullied, director Deborah Haywood deserves plaudits for Pin Cushion.
David Fontana discusses four films directed by women that show transitional periods of life, from an adolescent teen to an immigrant mother attempting to make it in America.