There have been many book-to-film adaptations over the years, all running the gamut of various levels of quality. But there are a handful of books that seem perfect for film adaptations yet just aren’t for various reasons. “Are You There, God? It’s Me, Margaret” is one such book, given how protective author Judy Blume has been over her crowning achievement for decades. However, producer James L. Brooks (“Broadcast News,” “As Good as It Gets”) and writer/director Kelly Fremon Craig (“The Edge of Seventeen,” “Post Grad”) proved to be the perfect match for her on paper, and, thankfully, in practice as well.
Sixth grader Margaret, played by Abby Ryder Fortson (“Ant-Man and the Wasp,” “Togetherness”), is dealing with her family’s sudden move from downtown New York City to the suburbs of New Jersey. Not only that, she’s having to deal with her parents’ mixed religions, her changing body, and a new school environment. Her mother Barbara, played by Rachel McAdams (“The Notebook,” “Spotlight”), and father Herb, played by Benny Safdie (“Uncut Gems,” “Good Time”), are dealing with their own struggles, as is her grandmother Sylvia, played by Kathy Bates (“Misery,” “American Horror Story”).
It would be easy to describe this as a kind of “plotless” movie, but doing so would discredit the emotional journey that Craig and Fortson take the audience on. It’s extremely easy to fall in love with Margaret, as her journey to find herself in multiple different avenues of life is easily relatable to anyone who’s been 12 years old and a bit awkward (which is probably everyone). Fortson is an absolute powerhouse, making Margaret come alive with genuine humor and love and emotion throughout the film. It’s one of those performances that just feels so honest and real, it doesn’t feel like acting. She just is Margaret, plain and simple.
Likewise, McAdams is as charming and delightful as she’s always been. She has this effect of feeling like the “every-mom” that works wonders here and helps blossom Fortson’s emotional journey by extension, and vice versa. It’s an example of a pair of performances that are already great on their own, and are only made better by strengthening each other. Safdie is also great, managing to be better than the typical “goofy lovable dad” stereotype, and really bringing the emotion when he needs to. Bates is also great, with her character mostly occupying the comedic relief part, but coming in with fierce support and emotion when it counts.
The overall production design and music feel perfect here, nothing too over the top so as to draw attention away from the actors but not too discounted as to feel like an afterthought. Hans Zimmer’s (“The Lion King (1994),” “Dune (2021)”) score helps to accentuate Margaret’s journey across this 70s tale of womanhood and childhood. But it never overplays the moments, and that speaks to possibly the best aspect of the entire picture. Craig’s film is always respectful of Margaret, her mother, and everyone else’s journeys, but it never lets that respect get in the way of honesty. Things are messy and complicated and not always nice, and by showing those moments honestly, it helps to embolden the film’s portrayal of growing up and woman hood in the most respectful way possible.
It seems silly to say, given the supposed plainness of this film. There’s no big dramatic climax, no globe-spanning journey, no arch-nemesis or societal injustice to fight off. The central internal conflict Margaret deals with doesn’t even necessarily have a point-blank conclusion. But Craig, Blume, and Fortson don’t need any of that to deliver what is one of the best films of 2023. This incredibly respectful and honest emotional journey is one that is simply a delight, equal parts tear-jerking and hilarious. But never without a twinge of honesty and genuine heart that captures the genuine feeling of relating; we’ve all been here, even if we haven’t. 5/5
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