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Top 10 teen movies | Film | The Guardian

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That's the thing Kids never got credit for at the time: It's a work of fiction, but the performances are so inconspicuously natural, they don't really register as "acting" — despite the fact many of the players went on to respectable careers, including Fitzpatrick, Chloe Sevigny, Rosario Dawson and Korine himself.

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All in all, testament to a job done a little too well. For Editorial Use Only. That is, take the bare bones of a literary classic and dress it in high-school threads. Even if the film is no Clueless, it's still quite the bobby-dazzler.

The transplanting of Shakespeare to a latter-day US teen setting is the least successful part of it: This sets in motion a scheme hatched by the younger sibling's suitors whereby a cool loner, Patrick Heath Ledgeris paid to charm the uncharmable Kat.

But that's a small detail. What we respond to in 10 Things are the visual and verbal high-jinks, the jaunty pace and the charismatic performances: Stiles and the late Ledger may have become known for more intense films, but it's arguable that neither ever enjoyed themselves more on screen than they do here. If anyone hits a dry patch, there is always language itself to contemplate. When the pace flags, we can still count on pick-me-ups like Ledger's marvellous karaoke showstopper which he performs with the zeal of an early Steve Martin routine.

Ronald Grant Archive Heathers arrived in the late 80s and promptly killed the John Hughes teen movie stone dead. That's not to say that Hollywood stopped making them, but Michael Lehmann's jet-black comedy — superbly scripted by Daniel Waters — offered a macabre take on the teenage experience that resonated so much more with moviegoers, who identified less with Hughes' sympathetic vision of high school as a melting pot and more with Heathers' view of it as a jungle, run along crude and arbitrary lines of popularity.

It's this that is perhaps the film's most enduring legacy. The Heathers of the title are the film's in-crowd, three girls of wealth and taste who have cast their discerning eye at Veronica Winona Ryderwho, as the film begins, is starting to tire of them. The arrival of bad boy JD Christian Slater, channelling Jack Nicholson offers Veronica the chance she need to break out of this constricting caste, and the two become a kind of situationist Bonny and Clyde.

However, when the pranking turns to murder — their enemies are despatched in fake suicides, seemingly prompting a schoolwide interest in all things Sylvia Plath — Veronica realises that JD goofball act is simply a mask, and that he is building up to something much, much bigger.

Daring for its time in the depth of its black comedy — two grotesque, sexist jocks are killed and a note left to suggest a doomed gay love pact — Heathers mostly earned its cult kudos from such cracking one-liners as: Do I look like Mother Teresa?

Kobal It's a brave director who attempts to make an avant-garde teen movie. And mature viewers could find plenty to sneer at in Francis Ford Coppola's stylised saga, with its pretentious but gorgeous high-contrast black-and-white, its random billowing clouds of steam, its pulpy plot and its sledgehammer symbolism Siamese fighting fish — is that, like, a metaphor?

But the thing is, it worked. It's a movie that makes an indelible impression, less for what it says than how it says it. Rumble Fish gave s viewers a dose of classic postwar Americana: It sounds corny but Mickey Rourkeit must be said, is way cool here.

You can see why his younger brother Matt Dillon worships him: Rourke's Motorcyle Boy is dreamily magnetic, with his barely audible mumble and his barely concealed vulnerability. Watching him made you feel way cool, too. Coppola covered similar teen ground, with a similar cast, in his other SE Hinton adaptation, The Outsiders, but there he aped the Technicolor s; here, he was closer to s film noir, by way of the French New Wave.

But Rumble Fish's style is more than mere pastiche. Few directors have been that experimental with the teen genre since. Coppola took pains to create a hermetic world all of its own: Instead we get time-lapse clouds and clocks, a percussive Stewart Copeland score, bursts of colour, a bizarre, levitating dream sequence.

Coppola even enlisted the San Francisco Ballet to choreograph the fight scenes. That very abstraction is part of the reason Rumble Fish has aged so well. The cast hasn't done badly either, packed as it is with still-familiar faces: On its release, much was made of its pro-life overtones, but in reality Juno's situation is something of a macguffin, a premise that allows a smart, savvy year-old to look at the world and its future.

Set in Minnesota but shot in Vancouver, in Reitman's native Canada, Juno begins with its heroine realising she is going to have a baby, the result of a fumble with her weedy best friend Paulie Bleeker Michael Cera, at his very weediest. Rather than terminate it, Juno decides to offer the child for adoption, settling on the Lorings Jason Bateman and Jennifer Garnera cool-seeming couple who seem to be on her wavelength — he especially, sharing her love of indie rock and horror movies although her tastes are pretty precocious even by modern standards.

The ending is twee and well signposted, but what's refreshing about Juno is that there is no takedown of its intelligent lead. By the end she is certainly older and wiser, but what Juno learns most to do is brace for disappointment: The use of still-obscure indie rock may have hampered its chances as a mainstream hit, but now that only adds to its lo-fi charm, and in a sense, it is probably fitting, since Juno isn't really aimed at everyone, just those who grew up thinking they knew it all and learned the hard way that, even if they were to know it all, nobody likes a smart-arse.

This is the most empathetic of his films, but also the most outrageously s-tastic. A universal heart-tugger and a retro style bible. It's an age-old story — poor Cinderella meets rich Prince Charming, and they angst over each other all the way up to the climactic ball, sorry, prom — but the full spectrum of adolescent anxiety is here: Hughes takes all of this seriously, and he takes time to build his characters.

We know where Molly Ringwald's Andie is coming from. We've seen her home, and how embarrassed she is about it, we've hung out in her bedroom, we've seen the state of her single dad a poignant Harry Dean Stanton. That's not to take away from Ringwald's wonderfully natural performance.

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Her mix of front and fragility is effortlessly persuasive. Whether she's applying her lipstick or calling out Andrew McCarthy's snobbery, we're with her all the way. And John Cryer's Duckie is that strangest of male characters — the lovable, clownish nice guy who doesn't get the girl, even though he's better company, and better dressed.

The ending notoriously altered to test-screening demands feels a bit of a cop-out, though you could read it as a bittersweet commentary on romance versus pragmatism.

If the story doesn't get you with Pretty In Pink, the styling will. The movie is worth watching for the costume changes alone, particular Ringwald's boss, Annie Potts, who flits daily from fetish-punk to s beehive, Madonna-esque material girl to Debbie Harry New Wave. The heavy art direction now makes the film look like a deliberate time capsule, crammed with as many fashions, posters, records, and interior textiles as they thought they could get away with.

And not forgetting that soundtrack: Has any teen movie had a better one? Dazed and Confused This movie is, like, awsome, dude Though, to confuse matters, Richard Linklater's day-and-night-in-the-life teen comedy is actually set in at the end of summer term in Austin, Texas, where high-school students are forced to improvise a night of drunken abandon after their party plans are thwarted.

But there is a rueful aspect to this welts-and-all portrait of the joys and cruelties of adolescence. I didn't know why it was happening," Matthew recalled. Matthew was in an awful predicament, and he tried to keep his house arrest a secret.

He wore longer pants to hide the ankle bracelet, but he was scared he would be discovered. And I had no good answer for them.

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The stress of the situation got so bad for Matthew that he told his parents the charges hanging over his head made high school impossible. I don't want to disappoint anybody, but I just can't go on anymore. And even though there was no proof that Matthew personally downloaded those nine pictures, it would be difficult to prove his innocence. Novak said that the pictures alone were practically all the evidence the police needed. They just had it built into their mind that this kid is guilty.

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It could happen to anyone. Matt's clean reputation, his good grades and protective family could not stand up to the cold fact that child porn was on that computer. The police and the district attorney had the incriminating photos from the Bandys' computer and the prosecutors were determined to send Matt away. A Family Fights Back Matthew Bandy found himself outmatched in the national campaign against child pornography -- harsh laws designed to keep track of pedophiles and punish them severely.

No matter what the means are. The fact that the test indicated that Matt was telling the truth wasn't taken into account.

And that's when the Bandy family really began to fight back. They hired two polygraph examiners who confirmed Matthew was telling the truth.

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Then they ordered two psychiatric evaluations which concluded that Matthew had no perverted tendencies. And certainly, they're not admissible in court. At the end of the day, we certainly felt there was a good faith reason to go forward with the prosecution. Despite the positive polygraphs and psychiatric exams, the district attorney pressed on.

So the Bandys and their attorney tackled the most difficult question on the table. If Matthew didn't put the pictures on the computer, how did they get there? For that answer, they turned to computer forensic expert Tammi Loehrs.

Loehrs says she does not believe that Matthew uploaded those images onto his computer "based on everything I know and everything I've seen on that hard drive. We were told he more than likely would end up in jail. In exchange for dropping all counts of child pornography, Matthew pleaded guilty to the strange charge of distributing obscene materials to minors -- a "Playboy" magazine to his classmates.

But the Bandy family nightmare was not over. While the prosecution deal offered no jail time for Matthew, he would still be labeled a sex offender. Under Arizona law and in most states around the country, sex crimes carry with them a life of branding.