Movie review

Classic book 'Are You There God? It's Me, Margaret' turned into gem of a film

As Judy Blume is one of the best-selling children’s/young adult authors over the past 50+ years, it’s natural to assume that her various books would have been adapted many times over. However, save for a handful of mostly forgettable entries, both on TV and in theaters, Blume’s stories have remained solely on paper.

Her seminal 1970 YA book, Are You There God? It’s Me, Margaret, has finally come to the big screen, and despite taking place in the past, its story is as resonant as ever. Margaret (Abby Ryder Fortson) is an 11-year-old girl in the early 1970s who, much to her and her grandmother’s (Kathy Bates) chagrin, moves from New York City to New Jersey with her mom, Barbara (Rachel McAdams), and dad, Herb (Benny Safdie), when Herb gets a new job.

Margaret is quickly taken into a friend group led by Nancy Wheeler (Elle Graham), who is obsessed with all things puberty-related, like getting her first period, growing breasts, and what boys everyone likes. Margaret, in order to assimilate, goes along with the fixation, with some reluctance. At the same time, she – the non-religious daughter of a Christian mother and Jewish father – starts exploring different aspects of religion, including her own private dialogue with God.

The reason it’s taken this particular book so long to be adapted is because the now 85-year-old Blume would not previously allow it. But it appears Blume was right in waiting so long, as writer/director Kelly Fremon Craig has made a film that’s almost miraculous in its empathy and storytelling. Taking a cue from Blume, who released her book at a time when its subject matter was far more taboo, Craig tackles the story’s tricky topics with forthright honesty that’s still family-friendly.

There have certainly been many movies and TV shows through the years that have dealt with puberty, but Craig sets this film apart thanks to the upfront nature of how the pre-teen characters talk about their thoughts and the humor with which the film deals with them. As any adult knows, puberty is a natural part of life, and Craig makes sure to treat it as such with no reservations.

There are big laughs that come throughout thanks to the period – no pun intended – details. Every realization that Margaret has about the realities of puberty, from the size of the menstruation pads to the discomfort of bras, is hilarious to witness. The production design also does a great job at re-creating the feel of the era, something older audience members will appreciate.

The religious part of the film plays a big role, and Craig impresses in this aspect, as well. Without putting her thumb on the scale in any way, the filmmaker has Margaret go to multiple different places of worship to see what they have to offer. Religion can often be a lightning rod, but here it’s dealt with in a straightforward manner, allowing Margaret – and the audience – to see the pros and cons for herself.

The adults are typically an afterthought in kid-centric movies like this, but Craig smartly gives them more to do than just be a support system for Margaret. Barbara is shown adjusting to being a stay-at-home mom, and her family backstory grounds the film even more than it already is. Margaret’s teacher Mr. Benedict (Echo Kellum) only has a few scenes, but each of them is impactful. The film's treatment of adult relationships is just as responsible for the success of the film as the kid friendships.

Fortson is darn near perfect as Margaret, infusing her with a wide-eyed wonder, enthusiasm, and sense of purpose. McAdams is also wonderful, turning into an ideal-yet-realistic mother. Safdie initially seems like an odd choice, but he acquits himself well. Bates is a joy to watch, even if having her play a Jewish grandmother feels a little off. And the child actors are uniformly fun and interesting, especially Elle Graham and Isol Young.

Nearly every part of Are You There God? It’s Me, Margaret works like a charm, and not just as a movie for pre-teens/teenagers. Blume’s story has always been a universal one, and this gem of a film lives up to its legacy in every way.

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Are You There God? It’s Me, Margaret opens in theaters on April 28.

Photo by Dana Hawley

Rachel McAdams and Abby Ryder Fortson in Are You There God? It's Me, Margaret.

Judy Blume's Are You There God? It's Me, Margaret film movies

Movie Review

The life of an actor is far from rosy in dramedy Misty Green

Photo courtesy of A24

Rosalind Eleazar in Misty Green.

For every well-known/successful actor in Hollywood, there are thousands of others whose lives are more tenuous as they struggle to find work. The new film Misty Green is about one such actor who, after a period in the limelight, now finds herself on the outskirts of the industry, just hoping to find her way back in.

Misty (Rosalind Eleazar) won an Emmy for a 2000s-era TV show that still gets her recognition, but not much work. Still living in the apartment of a recently-deceased man with whom she was having an affair, Misty spends her days sleeping in and her nights getting blitzed on alcohol and drugs. She seems to be heading nowhere fast until a few things coincide to break up her routine.

The man’s wife (Amy Landecker) shows up and tells her she has seven days to vacate the apartment; Misty’s brother, Jay (Daniel Kaluuya) — who is bipolar — arrives after being kicked out of his facility for non-payment; and Jordan (Chris Rock), a former colleague with whom she had a falling-out, reappears in her life, offering a possible chance to rehabilitate her image.

Written and directed by Rock (his first feature since 2014’s Top Five), the film is a funny and excruciating look at how the entertainment industry might actually work. Misty is her own worst enemy thanks to late nights fraternizing with unsavory characters like Zach (Adam Driver), who deals in drugs and women in equal measure, but her frustration proves warranted when her agent, Randy (Topher Grace), and casting directors like Rhonda (Tracie Thoms) hardly give her the time of day.

Misty tries her best to stay positive, but when jobs like singing in a bar are the best she can do, the mountain seems insurmountable. Rock does an effective job of demonstrating the elements that are within and without Misty’s control that affect her ability to regain her position in the industry. The chip on her shoulder is almost as big as the bias some have against her, and other negative circumstances don’t help matters much.

There are many small touches that Rock and his crew put in the film to give it an air of authenticity. Filming in Los Angeles (a rarity these days), Rock uses both subtle and overt shots of homeless people in the city, suggesting that the line between the haves and have-nots is a fine one, especially with Misty on the verge of not having a place to live. He also has cameos from a few of his funny friends, including a bit of meta-casting of Anthony Anderson (who has faded a bit after starring in Black-ish) in a bit part as a cop.

Eleazar, a British actor best known for appearing on the Apple TV show Slow Horses, is a magnetic presence as Misty. The character herself is somewhat cringey in her decision-making, and Eleazar sells every bit of her righteous indignation and self-defeating actions. The supporting cast is great across the board, including Rock, Driver, Kaluuya, Thoms, Grace, Anna Kendrick, and Rich Sommer.

Misty Green makes you rage against the Hollywood machine, laugh at the various ways different people deal with its maddening quirks, and hide behind your fingers as Misty chooses options that don’t help, either voluntarily or because her back is against the wall. It’s a powerhouse of acting that gives a unique angle on the inner workings of Hollywood, one that ironically might be competing for awards at year’s end.

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Misty Green is now playing in theaters.

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