![]() ![]() ![]() In this way, it’s very difficult to compare the emotional issues raised in The Edge of Seventeen with the “hardships” portrayed in the likes of 10 Things I Hate About You. Starring Hailee Steinfeld, Seventeen explores themes such as loss, grief, and depression, but in a dry, humorous and cutting fashion. The film clearly has more depth than most audiences would give it credit for.Īlthough it’s clear that these films are smarter than they first appear, it’s hard to argue that they’re awards-worthy – that is, until we started to see gems such as The Edge of Seventeen (2016) hit our screens. ![]() Clueless, for example, has a very clear satirical and self-deprecating edge, with Silverstone’s Cher constantly churning out lines such as “why learn to park when every place you go has a valet?” It soon becomes apparent that Cher is smart, strong and confident, a message that is important for every teenager to hear and aspire to. Sure, they certainly portray more complex and profound themes than many naysayers would give them credit for. Despite our love for these particular flicks, it’s safe to say that none of them were particularly Oscar-worthy. But would this film have quite the same impact today? Or is there no longer a place for this type of fun comedy that really is just a high-school love story?Ĭlueless (1995) follows a similar vein, with Alicia Silverstone portraying an equally shallow teenager, loosely based upon Jane Austen’s Emma. Based upon Shakespeare’s The Taming of the Shrew, this clever and sincere update caught the hearts and minds of all millennials with its close-to-the-bone comedy and shallow portrayal of American high schools, a formula that has always worked well within this particular genre. Remember 10 Things I Hate About You (1999), that classic romantic comedy whereby an extremely young Joseph Gordon-Levitt hires a dark and mysterious Heath Ledger to seduce Julia Styles so that he can date her vapid younger sister? It’s safe to say no one was merely “whelmed” by 10 Things. You simply can’t discuss teen flicks without considering some of the more popular films of the ’90s and early 2000s. For the release of Lady Bird on February 23rd, we’re going to explore how a genre that has previously been deemed only for the enjoyment of teenage girls has suddenly become a well-respected cornerstone of the medium. Perhaps viewers are simply more open-minded towards this subgenre of films, which could be more accurately and generously described as teen coming-of-age dramas. If you look at the transition that the “chick flick” genre has gone through over the past few decades, it’s difficult to tell whether it’s the genre itself or audiences that have changed. However, with the announcement of the 90th Academy Awards nominations, and Lady Bird sweeping the board with nods for Best Picture, Director, Original Screenplay, Actress and Supporting Actress, it’s suddenly becoming difficult to argue that these films are purely the shallow popcorn flicks that they’ve been made out to be. Historically, films that fall into this category (whether justified or not) are instantly saddled with the stigma of being shallow, simplistic, and more of a Friday-night frolic than a serious contender for awards season. It’s no secret that “chick flicks” are widely misunderstood as simply fodder for audiences of the teen girl persuasion.
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