Are You There God? It's Me, Margaret.

This delightful coming of age drama remains sweet and innocent yet honest and heartfelt, never pretending that puberty is easy or otherwise pandering to its potentially young audience. Crucially, though, 'Are You There God? It's Me, Margaret.' presents the pre-teen struggles of its protagonist not as demons to overcome, but as milestones to celebrate; they're just a part of growing up, arguably even more important than all the easy moments. It challenges the stigma that society places on a young woman's journey into adulthood simply by presenting it in a true and complimentary way, allowing it to breathe within a non-judgmental space that openly loves the often messy yet always necessary process. It laughs in the face of taboo, unashamedly portraying a girl's first period as an exciting key moment in her development (and as a metaphor for growing up) and showcasing the 'boy crazy', body anxious, socially conscious, inherently awkward lifestyle of a kid in the 6th grade without resorting to tired clichés or stereotypes. It captures that feeling of everything being incredibly important, even though a lot of it actually isn't. As an adult, you spend a lot of time wishing you were a care-free kid again; as a kid, you spend most of your time wishing you'd grow up and become an adult. When you're young, it doesn't matter matter how many times a grown-up tells you that you'll miss being the age you are, you never believe them; when you're older, you'll wish you had. Another large portion of the picture's theming is that of religion. Its protagonist is given the freedom to choose her own religion, coming from progressive interfaith parents who've opted to raise her without religion due to past trauma that I won't spoil. It handles this really well, too, and is unbiased when it comes to its treatment of the subject. Its message is ultimately an affirming one that ought to appeal to viewers of all kinds, one that opts not to tell people what to think but rather that they should. It essentially says that you should have the freedom to choose what you believe in and how you live your life, positing that you don't have to be religious to believe in God and can feel connected to a higher power (or not) in whatever way works for you. When the source novel was first released in 1970 (which is also when this adaptation is set, meaning that the movie is a period piece even though the book technically isn't), it was apparently highly controversial due not only to its open depiction of female puberty, but also because it had the audacity not to preach to its young readers and suggest that they don't have to blindly follow the religion of their parents. I imagine in some circles, the progressive piece is still controversial, but it's interesting that what once seemed radical now just seems like common sense (and good parenting) to me. Considering the title, though, this story is far more about growing up in general than it is about growing up searching for God, and it's all the better for it. The two elements are balanced well and form a cohesive whole, but the main takeaway from the movie is the subtle yet significant development of its protagonist (the other key characters also all undergo small yet important arcs). Abby Ryder Fortson impresses as the eponymous Margaret, perfectly capturing a multitude of emotions without overselling any of them. The performances, in general, are understated yet brilliant. Benny Safdie is great in his smaller role, Kathy Bates is as radiant as ever and Rachel McAdams really knocks your socks off - particularly in one emotionally charged scene. The supporting kids are all believable and engaging, too. This is the sort of film that doesn't shout about its performances, yet the cast is consistently brilliant across the board and each actor brings to life the brilliant screenplay in a distinctly believable way. The wonderful writing does an amazing job adapting its source material, making considered use of narration (that never feels overbearing) and an almost vignette-like structure to convey the year-long journey of its characters. The picture has a palpable suburban atmosphere capable of instilling nostalgia even in those unfamiliar with its setting or central situation. It feels universally relatable despite being pleasingly specific (or maybe that precision is precisely why it's so accessible). It's the sort of thing that can appeal to everybody, but I can imagine that it's especially important to young girls and their parents. It's genuinely inclusive and progressive, even for today, and it has plenty of important things to say about growing up and taking control of your own life. It's just an extremely pleasant picture, one that's as charming as it is competently crafted. Ultimately, it's a breezy, enjoyable, funny, heartwarming and wonderfully honest experience from beginning to end. It's great.

At least marginally better than "Are You There, God? It's me, Jonah Hill. From Moneyball."

Succinctly and pleasantly low stakes; there isn't any high-great drama, until the last twenty minutes, but the tone is consistent and manages to get deep about Faith, or really the absence of it, or how hard it can be for a young person to comprehend how, as Margaret ultimately puts it in the assignment to the teacher, religion makes people fight all the time.

For the most part, this is a story that is a School Year in the Life abd it's perfectly content to be about things like, oh, how you're fitting in with a new group of friends (some more agreeable than others), which boys are cute or not, and yet it's actually about something deeper due to the comparison the film makes between Margaret with Nancy and Margaret's Mom with the PTA (led by... Nancy's Mom): a Group isn't inherently a bad thing, but when there's one person asking or really demanding for this and that with pressures it can add to the already-there pressure of life in Suburbia.

Abby Ryder Fortson is so appealing and wonderful in the lead part, where your heart always goes out to her and she is funny and sympathetic and sometimes awkward in that way an 11 to 12 year old is at that time. The film maybe wraps everything up a little too tidy by the end for me, but it's hard to make a fuss when what is all wrapped up is all just, well, "will I finally talk to Moose who mows the lawn, or will "It" happen in the bathroom?" I never read the book, but it feels like it probably managed to bring everything in adaptation that was necessary (though I wonder if things between Margaret and Nancy came more to a head in the book than here, where things just kind of leave off on a silent understanding of a lie).

If it doesn't reach quite the heights of the director's previous movie, Edge of Seventeen, it's still never less than entertaining, amusing is not always funny (ok the dinner scene with both sides of the families is funny), and it's impressive that this can be in theaters as something for families to see that isn't the more soulless IP or candy-coated fast food.

Kelly Fremon Craig, who earlier wrote and directed The Edge of Seventeen comes up with yet another brilliant effort here. Abby Ryder Fortson is the lady of the hour and she's excellent in her portrayal of 12-year-old Margaret who navigates high-school life and everything else that comes with it after moving to NJ from NY in the '70s. I mean, wow! How beautiful it is to see Margaret grow up without the existence of smartphones and TikTok-ing and all that new-age, validatory baggage. There's so much adorable charm that Abby brings to the central character, coming off as someone all of us (regardless of gender) can relate to. She's going through that inexplicable phase in life where she has to figure everything out including making friends, menstruation, boys, religion, grandparents, etcetera. The film captures all of these aspects without applying filters, making it a refreshingly enjoyable watch.

The supporting cast is incredible too - be it Rachel McAdams (who rocks those '70s mom jeans👖), Benny Safdie, Kathy Bates, and the rest. And for a film with a child protagonist, there's a surprising amount of well-written situational humour. The climax warmed my heart and made me realize how seamlessly and subtly the film underlined its feel-good nature. The cinematography and production design also bring back the aesthetic beauty of the era; a time when apparel, furniture, cars, and houses came with a certain handcrafted allure. The adult characters in the film also get nicely fleshed out, and Barbara's (McAdams) arc especially, is a satisfying one. This wonderful story of "girlhood" almost feels like an old-school throwback to Bo Burnham's Eighth Grade, although they're both very different films.

This movie was beautiful. Judy Blume waited for the right person to take on her universe. Kelly Fermon Craig brought a simple touch to Blume's story, making it a true gem to watch.

I had read this book as a young girl and had my daughters read it while growing up. It has given girls a door into their own adolescence for more than 50 years.

I cringed just as I did 45 years ago at the awkward moments and feeling as an outsider as Margret did, but now I also cringed at the mother's misteps. I also known how trying to fit in to being a stay at home mom can be.

Thank goodness the film stuck to the time period. Seeing the electric skillet and blue Corningware made my day.

Thank you for a comfort food kind of movie.

Are You There, God? It's Me, Margaret, the film adaptation of Judy Bloom's 1970 blockbuster coming-of-age novel, is a quiet buster all its own. Rarely has cinema captured an 11-year-old marching toward puberty with such grace and dignity. In the film's road to maturation, three generations of women will face change just as child/teen Margaret does. Abby Ryder Fortson plays Margaret with a realism that looks as if she were always Margaret.

Margaret is moving from a robust neighborhood in 1970's NYC to dreaded suburban New Jersey carrying a disdain she and her Grandmother, Sylvia (Kathy Bates), evidence with some of the film's best lines. Margaret is not rabid in her criticism of the move, just grumpy and negative. To her interlocutor, God, she pleas, "Don't let Jersey be too awful."

For any youth who has been forced to move from a lively life and friends, this segment will have them chuckling as they remember how they tortured parents when disapproving something done for a better family life and dad's promotion. No pleasing a pre-teen most times anyhow.

Much of the film's energy comes from Margaret and her friends navigating the emergence of boys in their lives and the much-anticipated period. This monumental occurrence is welcomed with great fanfare. The girls' embracing emerging busts is encouraged with a lyric that invokes the life marker and prods it along: "We must, we must, we must increase our bust."

Every other possible pre-adolescent moment in young girls' journey through sixth grade to junior high seems to be covered, and probably was in Judy Bloom's book of the same name. Less physical but no less as powerful is her nascent religiosity confronting her roots in Judaism (father) and Christianity (mother and grandmother).

The cause of the split with her maternal grandparents over her mother marrying a Jew has the potential to bring the family together. However, it will be a long haul for an impatient child/teen who wants family unity almost as much as a period and bigger bust. Her interlocuter, both in person and voiceover, is a God she's not certain is real. Talk about demanding issues for a child/teen!

As in life, not all girls are mean and not all teachers inept; everybody's just trying to get through. If the girls seem to be wishing their life away, they are, but their tender moments of love and friendship promise that humanity will be served.

Writer/director Kelly Fromon Craig's Are You There, God? It's Me, Margaret should be required viewing for anyone mixing it up with different cultures or anyone wanting to experience a pitch-perfect adaptation of a seminal work of art.