All Time Best Teen

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It seems that every year another fresh crop of filmmakers make their debut movies, and a high proportion are coming-of-age stories. A sadly low percentage, however, are any good, which is why this week brings us significant reason to rejoice: First-time filmmaker Kelly Fremon Craig brings us the adorable, sprightly “The Edge Of Seventeen.” In many ways this year’s “The Diary Of A Teenage Girl” in being both the debut of an exciting new female filmmaker and a funny, fresh, newly insightful take on the teen-movie genre, ‘Seventeen’ perhaps does not reinvent the wheel in the way that Marielle Heller‘s film did, but it’s such a bouncy picture, centered around such a tremendously relatable turn from Hailee Steinfeld, that to disparage it as a result would be a little like critiquing a puppy. If you’re looking for an escape this weekend, this film is pretty much the breezy antithesis to the sorry state the world’s currently in, and may even prove to be an antidote… for a couple of hours, anyway.
Certainly, it dispelled the gloom for us for a little while, and so we thought we’d take this opportunity to bring you our 50 favorite teen movies of all time. Of course, this being us, our picks are not all sweet confections — while many are lighthearted comedies, quite a few are dramas and melodramas that portray the darker side of teenage life as well as its romantic mix-ups and fashion faux pas. We tried to avoid films that fall more squarely into other genres, like horror (a category largely populated with imperiled teenagers), sci-fi and others, but as ever, our selections mostly came down to our subjective taste. Which, thankfully, is fetch.
50. “William Shakespeare’s Romeo & Juliet” (1996)
A film that made “lovefools” of every ’90s teenager, Baz Luhrmann‘s excessive, overblown-yet-gauzy take on Shakespeare‘s star-cross’d lovers is loathed by the Bard’s purists. But in many ways, it captures the spirit of the play — the swoony extremism of first love as felt by two people at literally the most dramatic, hormonal moment of their lives ever — better than many more staid, respectful adaptations. The frenetic cutting, odd angles and swooping camera moves of Lurhmann’s inventive music-video style can feel juvenile, but this is a film about juveniles, and if you’re willing to be a little iconoclastic with the text, it works. It’s aided by a wonderfully fresh and affecting Claire Danes, a major heartthrob turn from a pre-“Titanic” Leonardo DiCaprio, an era-defining soundtrack and that all-time-great fish-tank meet-cute.
49. “Dope” (2015)
Rick Famuyiwa‘s bright, ingratiating tale of a geeky teenager’s coming of age is a refreshingly counterintuitive take on black masculinity, though far from flawless. Co-opting the formula of the (usually white-coded) teen movie and incorporating stereotypical markers of urban blackness — drug deals, shoot-outs, excessive use of the n-word — makes for a mixed bag. Most egregious are the paper-thin supporting characters, like Tony Revolori‘s underdeveloped sidekick, and especially the females: Kiersey Clemons‘ lesbian friend; Zoe Kravitz‘s cool girl; Chanel Iman‘s disaster-prone dim-bulb. But Shameik Moore’s lovely hangdog central performance, the catchy Pharrell Williams soundtrack and the earnest, if blinkered, good intentions somehow make it fly. If teen movies are time capsules of their eras, perhaps the lasting value of “Dope” will be as a glimpse of the always-mythic but now dead-and-buried dream of a post-racial America.
48. “Bring It On” (2000)
A given movie about cheerleaders could be a “Step Up”-style dance movie at best, or some kind of softcore exploitation picture at worst. But Peyton Reed’s “Bring It On” is a delight. Following the battle between a mostly white San Diego cheerleading squad led by Torrance (Kirsten Dunst), and a mostly black L.A. team whose moves their rivals had stolen in previous years, the film hits most of the expected sports-movie beats, but with a sly script by Jessica Bendinger, winning performances, great choreography and a deceptively smart and forward-thinking examination of white privilege.
47. “Ginger & Rosa” (2012)
The most accessible film from British arthouse darling Sally Potter is also her most overtly personal, detailing a close friendship between two London girls against a backdrop of 1960s social unrest and nuclear paranoia. Its emotional heart, in the bond between the young girls played by a revelatory Elle Fanning and a terrific Alice Englert (with Fanning’s ‘Neon Demon‘ co-stars Christina Hendricks and Alessandro Nivola also great in support), beats steadily throughout, allowing various digressions and sidetracks to occur without disrupting the film’s leisurely but authentic rhythms. It’s a deeply absorbing portrait of dawning social awareness and political activism, happening in tandem with childhood’s end, the revelation of parental fallibility and the painful truth that the changes we experience at that age can create a schism between us and the people we thought we’d love forever.
46. “Superbad” (2007)
Unlike the other movies here, “Superbad” has the virtue of having been written, at least to begin with, by actual teenagers: Seth Rogen and Evan Goldberg began work on the script when they were just 13, and were encouraged to complete it by Judd Apatow during the production of “Freaks & Geeks.” It didn’t reach screens until 2007, but when it did, it proved a very fresh, funny take on the coming-of-age sex picture, as Seth (Jonah Hill) and Evan (Michael Cera) endure a long night in the attempt to bring booze to a party where the girls of their dreams will be. Crude but smart, infused with the deep awkwardness of being an actual teenager, and given some ’70s flair by director Greg Mottola, it was a huge hit, and with good reason.
45. “Mean Creek” (2004)
While the phrase “teen movie” tends to call the quotable, pastel-colored likes of “Clueless” to mind, there is a whole other subset that takes a less literally rose-tinted view of the process of a growing up. In the tradition of 1986’s even darker “River’s Edge,” and last year’s excellent “Sleeping Giant,” this 2004 Jacob Estes film is an anti-“Stand By Me,” taking a nuanced look at teen bullying and weaving a small, perfectly performed tragedy around it. Rory Culkin is excellent as always, but Josh Peck is remarkable too (yes, of “Drake and Josh” fame — he’s just one of several kids’ TV stars in this Independent Spirit Award-winning ensemble) in the tricky role of a bully lured to the woods to be taught a lesson, but who gradually becomes the film’s most abject and pitiable character.
44. “The Craft” (1996)
While it never quite breaks into the all-time upper echelons, Andrew Fleming‘s inarguably enjoyable and recently reappraised high-school-coven cautionary tale understands one thing better than pretty much every teen movie ever made: The witchiness of mid-’90s Fairuza Balk was a natural resource that no one could tap enough. As the ringleader of the gang of four outcast teen schoolgirls who discover they have magical occult powers, including Neve Campbell‘s wallflower, Rachel True‘s bullying victim and Robin Tunney‘s troubled new girl, Balk is a force of (super)nature here, though the film doesn’t quite know what to do with her. Still, even without her deeply awesome weirdness, “The Craft” is a lot of fun in a wish-fulfillment-followed-by-‘be-careful-what-you-wish-for’ kind of way.
43. “An Education” (2009)
Providing an unmistakable breakout role for Carey Mulligan, “An Education” might be set against a now-archaic backdrop of 1960s gender politics, but the wincing acuity with which the very personal story is told makes it feel timelessly relevant. Based on Lynn Barber‘s scathingly intimate memoir essay, given a peppy screenplay adaptation by Nick Hornby and a smooth glossy finish by Lone Scherfig‘s lovely visuals, the film is absorbing, immersive, and strangely modern, despite the lead character’s often regressive behavior, in its portrayal of her as a rounded, complicated and often very unlikable heroine. Peter Sarsgaard is strong in the kind of worldly sleazebag role he does so well, and Alfred Molina is even better as the uncomprehending patriarch, but this is Mulligan’s film, and she makes you understand every weather-vane change her impossibly real character goes through.
42. “The Diary Of A Teenage Girl” (2015)
A surprising number of films that made our list are set in past decades — whether out of nostalgia, or to give the movie some pretty period-accurate window dressing, or because distance lends perspective, or because the the story is based in autobiography. A little of all of these elements is present in Marielle Heller‘s 1970s-set sleeper indie from last year — Heller had already adapted and starred in a theatrical version of Phoebe Gloeckner‘s graphic novel of the same name, and so obviously she knew the spiky, filthy story inside out. Also, its setting during the heyday of second-wave feminism gives its very third-wave outlook some fascinating context, all brought to a head in Bel Powley‘s breakout performance as the self-centered, sex-obsessed protagonist, a brilliantly specific mix of so many teenage traits — good, bad and disgusting — that are universal.
41. “Easy A” (2010)
The film that took Emma Stone from supporting player in “Superbad” and “The House Bunny” to leading lady and most likely an Oscar winner, “Easy A” came out of nowhere as a disarming and utterly winning teen romance. Riffing, curiously but effectively, on “The Scarlet Letter,” Will Gluck’s film (written by Bert V. Royal) sees 17-year-old Olive (Stone) lie about losing her V-card and become a target for her school’s Christian right (led by an unexpectedly hilarious Amanda Bynes), only to end up embracing her new reputation. It’s sharp, funny and sweet, but also unexpectedly wise about female sexuality, double standards and bullying mobs, all carried by a performance of Lucille Ball-level comic greatness by Stone (and the single best parents in all of teen movie-dom, Stanley Tucci and Patricia Clarkson).
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Entertainment
Television
TV's 10 Best Teen Dramas of All Time, Ranked
Friday Night Lights; On My Block; Buffy the Vampire Slayer
Getty Images; Netflix; Everett Collection
With Labor Day in the rearview, it’s that time again, when nervous students are typically assembling their coolest new outfits, crowding into freshly painted hallways and finding their places in the cafeteria-table hierarchy. But 2020 is no typical year. As COVID-19 continues to devastate communities across the U.S., some kids are starting the school year from home, others have seen their first days delayed and still others have, perhaps ill-advisedly, been ushered back into classrooms that pose unprecedented risks. Is high school even worth the effort if you can’t get within six feet of your classmates?
It’s enough to make any student (or adult regressing back to adolescent behaviors in quarantine, no judgment) long for a dose of teenage normalcy. Thankfully, there’s plenty on offer via our most convenient portal to the Before Time: television. So it seems like a good time to count down the medium’s all-time greatest teen dramas. These are series that transcend their generations and settings, capturing something timeless and universal about the experience of growing up. And they’ve distinguished themselves from so many other big names in the genre—Gossip GIrl, Riverdale, Pretty Little Liars and the massively influential Beverly Hills, 90210 among them—by remaining vital throughout their runs, however long or short, rather than jumping the shark after a few strong seasons. Even better, the vast majority of them are available to stream.
Degrassi has been a staple of Canadian childhoods since 1979, having generated four decades’ worth of programming that can seem kind of overwhelming for anyone who didn’t grow up with it. The franchise began as four specials from former Toronto public-school teacher Linda Schuyler that evolved into a show called The Kids of Degrassi Street, which then begat Degrassi Junior High and Degrassi High. A decade after the latter series wrapped, in 1991, came the best installment of all—Degrassi: The Next Generation. At 14 seasons, it’s also by far the longest. While a few adult characters carry over from the ’80s, viewers who start with TNG shouldn’t find it hard to get into the warmhearted and progressive new story.
Less glossy and frivolous than many of its U.S. contemporaries (see: the 90210 extended universe), Degrassi never fully strayed from the after-school special path, with real teen actors playing teen characters and lightly didactic story lines tackling such issues as abortion, suicide, rape and substance abuse. Dip into early episodes for vintage turn-of-the-millennium internet anxiety and the presence of a young Aubrey Graham—now better known as Drake. Starting in season 10, with the student cast fully refreshed and an updated slate of topics including a Peabody-winning episode focused on a transgender teen, the series feels significantly more modern. Should you require even more Degrassi, the four-season Gen Z reboot Degrassi: Next Class is available on Netflix.
Stream it for free on: Pluto TV or YouTube
Father-and-son creators Bryan Elsley and Jamie Brittain let teens write their own drama for youth-focused UK network E4, and the unsurprising result is some of the angstiest, horniest, druggiest stuff ever committed to video. Rotating through three casts in six seasons (the skippable seventh revisits a few fan-favorite characters as adults), the show follows students in the years leading up to their university entrance exams. It can get pretty melodramatic, but you don’t have to be 17 to find the emotional intensity of the story lines exhilarating. No wonder Skins made such an effective showcase for the talents of a young cast that included Dev Patel, Nicholas Hoult, Kaya Scodelario and Game of Thrones standouts Hannah Murray and Joe Dempsie. Sadly, the American version that ran for a single season on MTV wasn’t nearly as strong.
What does it take to become Netflix’s most-binged original series, as On My Block was in its debut season? The recipe goes something like this: recruit a diverse cast of charismatic young actors, place their characters on the precipice of their freshman year of high school, season with equal parts sweetness and grit, then pour the resulting mixture into a believable facsimile of an East Los Angeles neighborhood. It all cooks up into a dramedy that’s sensitive to the realities of growing up in a place where gangs, drugs and mass incarceration are facts of life, without robbing the brainy clique at the show’s center of their youthful innocence. Sierra Capri holds it all together as the singular Monsé Finnie, a tomboy coming of age in all-male milieu.
After decades of perfect-looking mean girls and “ugly ducklings” who transformed into knockouts the moment they put a comb through their hair, teen TV got serious about inclusion in the 2010s. Along with diverse casts and characters from across the LGBTQ spectrum, a few shows even made room for female protagonists who weren’t rich, didn’t look like supermodels and sometimes struggled with mental health. E4’s ’90s-set My Mad Fat Diary, adapted from author Rae Earl’s teenage journals, is a gorgeous example. Fresh out of an institution after attempting suicide, Sharon Rooney’s working-class Rae loves Britpop and boys but hates her big body. Bonus: Killing Eve breakout Jodie Comer has a supporting role as Rae’s best friend.
The quintessential Gen X teen drama—emphasis on drama—was over almost as soon as it began. But in just 19 episodes, creator Winnie Holzman (thirtysomething) captured the particular experience of growing up in the early ’90s, when youth culture was leaning into fashionable messiness, resulting in an explosion of oversized flannel, alternative rock, third-wave feminism and experimentation with drugs and boxed hair dye. In easily parodied but genuinely moving voice-over monologues, pensive, moody, romantic Angela Chase (Claire Danes, in the first of so many great cry-face performances) gave voice to a new type of teen—one who ran around with soft boys and bad girls, mooned over long-haired burnouts and brooded in bed blasting the Cranberries but still loved her annoying family. Groundbreaking in its sympathetic depiction of a queer teen (Wilson Cruz’s Rickie), My So-Called Life is also notable, in retrospect, as one of the last artifacts of pre-Internet adolescence.
Stream it for free on: IMDb TV and ABC. com
Peak TV never stops churning out teen shows, and with good reason. It’s only by winning over young viewers, after all, that new platforms can expect to sustain thems
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