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Top 7 Teen Movies

When you grow up, your heart dies - or so they say. Here's the proof: Heathers Juno, critic of The Guardian and Observer select the 10 best movies for teenagers.
 Blackboard Jungle

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Under the name "Evan Hunter", also known as a crime writer Ed McBain - Blackboard Jungle the early age of the labeled teen offender - it was based on his own experience as a teacher in the Bronx. In London movie Brooks attracted crowds of Stuffed Boys, cut theater seats, danced in the aisles and actually started a riot.

The reason for this so shocking behavior was not so much the content of the film, which is now a sober 12 rating, but achieved due to the use of Bill Haley and the early rock'n'roll comets, Rock Around the Clock, who played in polarization . Today is the least shocking aspect of a crime-thrusting film with a knife, drugs and even rape in the state school system, but at the time it was a touchstone for disgruntled young people, regardless of whether Haley was a white musician traveler in Its 30 years and the music has already been a year old.

Almost 60 years later, he still has a hit, with Richard Dadier Glenn Ford (first called to enable students to call the Jive to talk to him "Daddy-O") struggle to control his students in the North fiction manual school. Others try and fail, such as the unfortunate Mr. Edwards, whose valuable 78s are crushed by his class consists of an act of symbolic and even disturbing rebellion, but I hope that as African Americans Gregory Miller, what eventually patriotic authority Dadier replied. But for all its war morality, Vic Morrow, the evil Artie West, is the true anti-hero of the film, dressed in leather and meets the logical heir Wild One, Marlon Brando, two years before.
Superbad
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With certified hits The 40 Year Old Virgin and Knocked Up, the Judd Apatow Express was already rolling at full speed when Superbad, directed a comedy in the younger audience, appeared on the movie screens. Co-written by Seth Rogen and Evan Goldberg (designated the main characters to be), and produced by Apatow, he liked this movie more with a hoarse Partycrowd. The image is dominated by three young actors who were not then the stars they are now. Evan (Michael Cera), Seth (Jonah Hill) and Fogell (Christopher Mintz-Plasse) are high school graduates getting ready for a final party before college. Evan and Seth no longer see each other when the first outing to the prestigious Dartmouth while the latter attended a public university; Seth Groll scattered around the action, but now he's eyeing sex. If he offers through the object of his alcohol affection to a party held so the numbers he is sleeping with her. This is where the drippy Fogell enters: having a fake identity secured mis-adapted under the pseudonym of McLovin, is the key is to plan Seth.

With its notes and 24-hour melancholy, the film takes a similar American Graffiti and Dazed and Confused terrain, but is distinguished by a Post-Porky Sensitivity Hallows celebrates simultaneously pre-PC smuttiness. Much of the humor derives from the assessments of the chauvinistic Sex by inexperienced hero. (Adult, I no longer sophisticated. A Rogen police admits that police work is nothing like the serious coroner CSI procedural having been carried out, can be expected. "When I joined the force," he laments, "I semen believed oftentimes "). Goodwill mocking the experts, the details of the accompaniment and direction of Greg Mottola exuberant makes the image almost irresistible, although the pace of broad-fashion and humor is as sexist as a hope for the production of Apatow
Kids
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No kids at school wisecracking here. In fact there is no mention of the school. Not that many jokes, either come to think of it. Instead, Larry Clark's raw, Drama bracing reminds us securely and artificially that most movies are teenagers.

The boys were dangerous: an open honest representation of what modern teenagers actually do (those who grew up in New York, anyway). It was a heavy blow to the chops of a complacent society, who thought she had made all the rebels in the 1950s, and was convicted by demonstrators and politicians. But as The Wild One and Rebel Without a Cause, the film showed a terrible chasm between generations of young and old. The last only demographic number in history. While they work, their children are drunk, they are stoned, fun, fight, steal them and more sex than they did, yet clumsy, insecure and people who do not particularly like.

Worse than all this danger sign, but the general lack of concern or compassion for the characters, especially Leo Fitzpatrick's anti-hero is Telly's terrible reckless pursuit of "de-virginise" younger girls and neglected joint has its successes. With the spectrum of AIDS lurking in the shadows, a happy ending is even more in the distance.

But there is nothing particularly sensational about the way children have gone through these adolescent lives. The treatment is more like a documentary: on the wall with the camera (which incidentally by the indecent sometimes), the actual sites of the road, unstructured scenes and dialogue really conversation - the latter in Harmony Korine, largely through Of the internal work of a writing, as he was 19 years old.

That's the thing, do not get the kids credit for the season: it's done. It is a work of fiction, but the benefits are so little is known, is not included as an "actor", although many of the players followed the decent career, such as Fitzpatrick, Chloe Sevigny, Rosario Dawson and Korine. In short, the will of a job done a little too well.
10 Things I Hate About You
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The philosophy behind this lively teen comedy looks like the Shrew the Clueless made Emma do. That is, take the skeleton of a literary classic and dressed in the threads of high school. Although the film Clueless is not, still quite blinding Bobby. Shakespeare's transplant into a youthful atmosphere of the United States in recent times is the least successful part of it: It is not something that a strident touch in the plot, in which a young man told his father that he would not allow graduation date, until the Abrasive ground older sister Kat (Julia Stiles). This sets up a system of younger brother suitors born of a legal soil, Patrick (Heath Ledger), is paid uncontrollably seduce Kat. But that's a small detail. To which we respond in 10 things are visual and verbal, energetic rhythm and charismatic performances: Stiles and the last Ledger may be known for more intense films, but it is doubtful that we do not always get more on the screen than I do here.

Writer Karen McCullah Lutz and Kirsten Smith, keeping things bright will not character for a long time without toxic replica or a sharp zinger their lips anymore. If someone has hit a dry spot, there is always a language to see. "I know you can be overwhelmed and dominated" reflects a girl, "but can it alone" overwhelmed "? Everyone here is united and evoked by their idiosyncratic vocabulary, and the viewer is also enriched by phrases such as" (The brain area where the images are saved as desirable partner for stimulants) or a new definition for the word "backup." For the cast includes Joseph Gordon-Levitt and as the father of the Kat, the magnificent Larry Miller (who was an early contender for George Costanza's game at Seinfeld.) If the rhythm flags, still pick-me-ups like the wonderful accounting show karaoke with the zeal of Steve's early start Martin is held.
Juno
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Written by an ex-stripper and the issue of student pregnancy approaching - the downfall of all middle-class parents - Jason Reitman's film is a hilarious comedy, played well, that a star made night Ellen Page as the title character. Much if talked about its pro-life nuances in its release, but in reality the situation is Juno is something of a MacGuffin, a premise that a smart, wise to the world and its future can look 16 years.

Juno begins with his heroine to realize that a baby will have, the result of a loose ball with his best friend Paulie Bleeker (Michael Cera, in his own weediest). Instead of finishing, Juno decides the child for adoption to give attributes to the Loring (Jason Bateman and Jennifer Garner), a couple who seem to be in tune - especially participate their love for indie rock and horror movies (although their tastes are quite Early, even by today's standards).

The latter is twee and well marked, but what Juno is refreshing, without dismantling the smart edge. In the end, she is certainly older and wiser, but what Juno learns more, do, prepare for disappointment: the adult world not Disney World of complexity is what he seems to think. The use of indie rock still dark have hampered its potential as a mainstream success, but now that only its charm is given lo-fi and in a sense, it is probably useful because Juno really is not aligned world, only those who think Who knew everything grew and learned the hard way that even if they know everything, nobody likes a smartass.
Clueless
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"As if!" — "I totally paused!" — "Minor ducats…" — "Let's do a lap before we commit to a location!" — "I was surfing the crimson wave!" — "Did my hair get flat?"If Clueless was published in 1995, it was not just sensational and intelligent fun - carefree, the opposite of its title was. Insinuating indirect, clever and funny: writers director Amy Heckerling and seemed to have invented a new culture of the teen-pop language. It was as vivid and colorful as his remarkable movie heroine-keeper: funnier and more romantic than any romcom.

In the nineties, it was the hot topics issue. This film was a disgrace to all who, a funny and gracious tribute to Emma Jane Austen with nod to Shakespeare and Wilde. In Clueless, 19, Alicia Silverstone was the role of her life, unique style and comedy display ability, but never found after the race that everything seemed to promise. She plays Cher, the pampered, but basically good-hearted Princess: rich, popular, obsessed with fashion, but lonely and looking for love. Silverstone finds laughter as a teacher, and his voice in a sort of pitchy yodel pause in perplexing tones or complaint.

Cher is best friend Dionne (Stacey Trace), but somewhat aggressive with his ex-strident Josh, whose mother was married to Cher's ferocious defender Mel, played by Dan Hedaya. However, could there be a spark between these two? Josh is a college student in liberal causes and Roar Mode "Rock Complaint". It is played by 26-year-old Paul Rudd, who immediately became a brand in Hollywood and sniper. Rudd's character began to mature and youthful Clueless.

Get Cher decides what bad grades you have to do with getting your teachers in love, to sneakily two of them fall to each other, and if the east coast dorky girl named Tai appears, Cher makes a personal change "project ". Tai is very well played by Brittany Murphy, an up-and-comer talent who was bleak due to complications of dying in 2009 after an overdose of prescription drugs. The teen movie references to contemporary youth culture is always complicated with irony and melancholy if you look after almost 20 years. The terrible fate of Brittany Murphy is the saddest part of it.

Clueless is strange to think that once the social networks. These people are ready and ready for the Internet and the digital revolution. There is a splendid view of the gag on Cher and Dionne talking uncomfortable on his large mobile phone. The recent film by Sofia Coppola, The Ring Bling is Clueless next generation. The difference is that the lean teenager Coppola really are clueless, white and selfish.

There is a nice quality and idealistic Clueless comic that makes it so appealing. Cher and Dionne are the queens at their school, but not unpleasant, and according to their lights, they always want to do the right thing. Clueless is not characterized by a sign of "Bully" noticing a comeuppance ter. Mean Girls, the 2004 satirical film written by Tina Fey and Lindsay Lohan is very different. There's nothing new about bullying, of course, but I think it's interesting that Clueless appeared briefly to introduce snarky sites and reality farce at the center of pop culture. Clueless is a true classic: handsome, innocent fun. I envy people I have not yet seen.
Pretty In Pink 
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The amazing ability to take advantage of John Hughes' teenage thrill, and then inexorably, pack it in a commercial way, has never been better employed here. This is empathy for his films, but also the most outrageous Eighties-tastic. A universal heart-tugger and retro bible style. It's a win-win.

There is an old story - the poor Cinderella rich Prince Charming meets, and agonize all the way to the climatic ball, sorry, dance - but the full spectrum of teen angst is here: worry about what your colleagues think; Believing secretly tell your best friend and courage; They worry that you are very poor; Concern for parents; Worry that the sleeve of your vintage tuxedo has not rolled high enough.
Hughes takes everything seriously and it takes time to build his characters. Andie knows where Molly Ringwald is coming from. We have to see him at home, and how embarrassing it is, we hung in his room, we saw the status of his single father (playing Harry Dean Stanton). This does not want to take the Ringwald natural wonderful power. Their blend of forward and fragility is the compelling effort. If you apply your lipstick or calls snobbery Andrew McCarthy, we are all the way with it. And Duckie John Cryer is the strangest of the male characters: the friendly and friendly clown who does not stay with the girl, although a better and better dressed society. The latter (especially the requirements of the modified screening tests) feels a bit like a cop-out, but could be read as a commentary on the bittersweet novel against pragmatism.

If the story you do not start with Pretty in Pink, style it be. The film is worth looking at the costume changes alone, the respective boss Ringwald, Annie Potts, who travels from the fetish-punk in the 50's hive, Madonna-like material girl Debbie Harry New Wave. Serious art direction now makes the film look like a time capsule intentionally, filled with so many fashions, posters, records and decorative objects as they thought they could escape. And do not forget the soundtrack: Psychedelic Furs, OMD, Echo and the Bunnymen, New Order, The Smiths, uh, a cover by Nik Kershaw. Was each teen movie better?

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