Reconnecting with childhood joy in Wes Anderson’s Moonrise Kingdom
The truth is complicated, and especially so for children. They see things through the lens of their own limited experience.
Where the Wild Things Are isn't merely Maurice Sendak by way of Spike Jonze, but rather Sendak as embodied and expanded through Jonze, a spiritually faithful adaptation which takes the book’s primary themes as both an anchor and a jumping off point.
Compared with the constrained, masterly chamber dramas which dominated Ingmar Bergman's earlier output, Fanny and Alexander is a cornucopia.
It's easy to project one's entire childhood onto the child stars one loved most, and to imagine them growing up into the kind of person you want them to be, maybe even a person like yourself.
On Toy Story, Pokemon, and the cyclical, branded buying cycle.
Young children are much more fluid in their expression of gender than is assumed, too young to know or really understand societal norms or essentialist behavior.
Last Action Hero and the screen icons that "are most welcome in the stretch of life when childhood feels painfully untriumphant."
In Sparrows, the 1926 silent film starring Mary Pickford and directed by William Beaudine, “normal” for the children is pretty close to a living hell.