This month, we’re diving headfirst back in time, looking at how movies have tried to capture teenagers on screen over the years.
Superbad is a film that exists outside of place, unstuck in America, nowhere and everywhere.
If Pretty in Pink were the imagined fable of those high school days, the moral would perhaps be: Someday someone will appreciate you for who you are.
Heathers is not a movie about teenagers having teen problems. It’s the story of kids dealing with very adult problems that they’ve inherited from society.
The first time I watched My Mad Fat Diary, I felt understood in a way I never before had by a movie or television show.
Where is the experience of teenage monotony and aimlessness not spoken but truly felt, and not just by hot people? Others may find it there, but I find it sewn into the very fabric of Elephant.
Stealing Beauty presented all these lovely in-between places not as the devil’s snares, but as opportunities for growth, for experience.
Charlie Bartlett, named for its protagonist, has nothing to do with my life, and yet it feels uncomfortably personal to watch again, seven years after I first saw it.
Empire Records is not a movie about high school—it’s a fable about warding off the end of youth altogether.
