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50 Essential Movies For Kids

Looking to enrich your kid’s viewing habits? Or if you’re under 13 yourself, love movies, and you want to watch some of the best ever made, take it from us when we list 50 Essential Movies For Kids!

These are not just great children’s movies, but movies that play well for the curious and growing mind. While all these movies are classics and can be seen at any age, some have stronger themes than others that would play better during upper years. So, we separated the movies in suggested age categories:

Ages 1-5: Kids may not actively recall everything from this age, but a good baseline is fundamental in developing a healthy appetite for movies. Here we feature colorful classics (The Wizard of Oz), fun adventures (Chicken Run), and tales as old as time (Beauty and the Beast).

Ages 6-9: As more time is devoted to school and outside life, movies become more of an escape, and their power to transport starts to become apparent. Don’t miss out on epic quests (Star Wars), wish fulfillment (Home Alone), and dazzling fantasies (Spirited Away).

Ages 10-12: The magic window, the time in life when movies can move and change tweens, and stick for the rest of time. A good era for the classic portrayals of youth (The 400 Blows), face-melting action (Raiders of the Lost Ark), and romance (Romeo & Juliet).

Whether you’re a parent looking for a moral, entertaining movie night with your kids, or you’re a young student of movies making the leap on your own, check out these 50 Essential Movies For Kids! —Alex Vo

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Ages 1-5

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Ages 6-9

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Ages 10-12

This Sunday is Mother’s Day, and many of us will be celebrating the contributions and sacrifices our mothers have made to help us become who we are. But not all moms are created equal, and that’s especially true in cinema, because we know some real crappy movie moms out there — 24 to be exact — and they deserve no flowers, chocolates, or fancy dinners.

Jennifer Lawrence’s latest collabo with director David O. Russell has the 25-year old actress starring as Joy Mangano, a single mother and entrepreneur who invents the Miracle Mop. The movie is aptly called Joy and (see if you can follow us on this one) inspires this week’s 24 Frames gallery: all the single female titles that we think you might enjoy watching.

Danny DeVito has been in a pair of long-running sitcoms, produced and directed some major hit movies, and turned in notable cameos in some of the most critically adored films of all time (including One Flew Over the Cuckoo’s Nest and Terms of Endearment) — and all those achievements don’t even include most of his filmography, which expands this week to include his appearance in All the Wilderness. Clearly, this is the perfect time to pay tribute, and that’s exactly why we decided to (ahem) DeVote this list to the irascible, irrepressible Mr. DeVito. It’s time for Total Recall!

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10. Tin Men (1987) 82%

After leaving the city for The Natural and Young Sherlock Holmes, Diner director Barry Levinson returned to Baltimore with 1987’s Tin Men, a downbeat comedy about a pair of aluminum siding salesmen (DeVito and Richard Dreyfuss) who begin a bitter, decades-long rivalry after (literally) bumping into each other during a disastrous first meeting in the ’40s. Boasting fine period detail, a terrific cast that also included Barbara Hershey, John Mahoney, and Bruno Kirby, and soundtrack work from the Fine Young Cannibals, Tin Men impressed critics like Luke Y. Thompson of New Times, who called it “Primo Levinson” and wrote, “DeVito’s rarely been more human, and Dreyfuss is at his funniest.”

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9. Batman Returns (1992) 82%

Initially reluctant to film a Batman sequel, Tim Burton was eventually persuaded to return to Gotham after wresting complete creative control from Warner Bros. The result was 1992’s Batman Returns, a casting dream that found Batman (Michael Keaton, donning the cowl for the final time) facing off against Catwoman (Michelle Pfeiffer, resplendent in leather) and the Penguin (a scenery-chewing DeVito). Though some critics (and parents) felt the film was too dark, most reviews were positive; in fact, before Christopher Nolan came along with Batman Begins, Batman Returns was the best-reviewed film in the franchise, something Desson Thompson of the Washington Post attributed to the fact that it “comes closer than ever to Bob Kane’s dark, original strip, which began in 1939.”

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8. The War of the Roses (1989) 84%

DeVito and his Romancing the Stone castmates Michael Douglas and Kathleen Turner teamed up for the third time in this pitch-black comedy about a wealthy married couple (Douglas and Turner) whose disintegrating marriage becomes a desperate, violent squabble over their shared possessions. Doing double duty as director and co-star, DeVito extended his directorial hot streak (begun with 1987’s Throw Momma from the Train), while Douglas and Turner took the love/hate banter they perfected during Stone and Jewel of the Nile and subtracted the love, fueling one of the most entertainingly venomous divorces in cinematic history. As Rob Vaux of the Flipside Movie Emporium put it, “For anyone who ever spent Valentine’s Day alone with a bottle of scotch, for anyone who ever watched the love of their life go stomping out the door, for anyone who ever gazed in hatred at the happy couple spooning in public? This is the movie for you.”

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7. The Rainmaker (1997) 82%

John Grisham has seen plenty of his books turned into movies, but in 2004, he told Entertainment Weekly that The Rainmaker was the best. It’s easy to understand why: with Francis Ford Coppola behind the cameras and an ace cast that included Matt Damon, Mickey Rourke, Jon Voight, and DeVito, it’d be hard to ask for a more skillfully assembled adaptation of the story of an idealistic young lawyer (Damon) who teams up with a resourceful paralegal (DeVito) to bring down an unscrupulous health insurance company. Although it failed to outgross many of them, it was, as Empire’s Ian Nathan argued, “A stronger bet than the previous 35 or however many Grisham movies before it.”

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6. Hercules (1997) 83%

Before he was the Lorax, DeVito lent his pipes to Disney’s Hercules, appearing as the voice of the pugnacious satyr tasked with toughening up the titular Olympian (Tate Donovan) and assisting him in his quest to prove his worth as a true hero. Crafty and incorrigible, Phil gave DeVito the opportunity to walk away with many of the movie’s best lines — and entertained critics like Kenneth Turan of the Los Angeles Times, who wrote, “Light on its feet and continually amusing, this free-spirited show-biz version of Greek mythology ranks with the best of modern Disney animation.”

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5. Get Shorty (1995) 89%

DeVito strapped on his producer’s hat for Get Shorty, a $115 million adaptation of the Elmore Leonard novel about a loan shark (John Travolta) who dreams of leaving the business and turning his life story into a hit film for a big-time Hollywood star (DeVito). Sharp, funny, and stocked with an impeccable array of talented actors, including Gene Hackman, Rene Russo, and Dennis Farina, Shorty entertained critics and audiences alike — including Newsweek’s David Ansen, who pointed out, “Hollywood has been in love with mobsters since the beginning of movies. But the other side of the equation has seldom been considered. That is, until now.”

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4. Romancing the Stone (1984) 86%

Nobody plays “gleefully unscrupulous” quite like Danny DeVito, and he was given free rein with Robert Zemeckis’ Romancing the Stone, which found him playing a shady antique smuggler whose bumbling plot to get his hands on a treasure map put him at odds with a romance novelist (Kathleen Turner), a dashing explorer (Michael Douglas), and a murderous Colombian colonel (Manuel Ojeda). Loads of swashbuckling fun in a perfectly ’80s way, Stone raised more than $86 million at the box office, spawned a sequel, and won the admiration of critics like Tim Brayton of Antagony & Ecstasy, who called it “A grand example of the rarest combination of adventure, humor, and sexual chemistry which all crackle along with abandon.”

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3. Matilda (1996) 92%

For his first directorial effort since 1992’s Hoffa, DeVito did something altogether different: an adaptation of the Roald Dahl novel Matilda, about a bright young girl (Mara Wilson) with loathsome parents (played by DeVito and Rhea Perlman) and a budding set of telekinetic abilities. Dahl’s flair for dark storytelling was a perfect fit for DeVito’s sensibilities, and the result was a modest hit greeted by appreciative reviews from critics like Rob Thomas of Madison’s Capital Times, who wrote, “DeVito gleefully preserves Dahl’s dark comic tone, which should delight both kids and parents.”

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2. Ruthless People (1986) 93%

An ’80s spin on O. Henry’s Ransom of Red Chief courtesy of the Zucker/Abrams/Zucker laugh factory, Ruthless People gave DeVito one of his most marvelously grotesque roles: Sam Stone, the millionaire fashion magnate who’s planning to murder his equally off-putting wife (Bette Midler) when she’s kidnapped by a vengeful fashion designer (Helen Slater) and her doltish boyfriend (Judge Reinhold). Seeing an opportunity to have his dirty work done for him, Stone cheerfully neglects to pay the ransom, setting in motion a chain of hateful behavior. “DeVito is the mainspring of Ruthless People, the engine of murderous intensity right at the center,” observed Roger Ebert. “His passion is so palpable that it adds weight to all the other performances in the movie.”

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1. L.A. Confidential (1997) 99%

Danny DeVito almost certainly isn’t the first actor that comes to mind when you think of L.A. Confidential — that honor most likely goes to Russell Crowe, Guy Pearce, Kevin Spacey, or Kim Basinger — but his character, publishing sleazemonger Sid Hudgens, was still crucial to the story, setting in motion some key moments in the storyline and serving as the film’s narrator. And while this might not be the definitive performance in DeVito’s career, it does illustrate his gift for choosing the right script; as Variety’s Todd McCarthy wrote, this Best Picture nominee is “An irresistible treat with enough narrative twists and memorable characters for a half-dozen films.”

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Finally, here’s DeVito squaring off against Oscar the Grouch in a series of visits to Sesame Street:

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Check out Danny DeVito’s complete filmography.

Read more Total Recall.

In a follow-up to yesterday’s article ("Early Superreaction Sounds Promising"), we’ve got the rundown on even more online journalists who have chimed in after last week’s first-ever screening of Bryan Singer‘s "Superman Returns" — and so far the twelve-count consensus has given the pic a 100% Unofficial Tomatometer.

As Warner Bros. employs the honor system in their embargo on early "Superman Returns" Super-Reviews, few media outlets have let loose with opinions on the upcoming superhero blockbuster — leaving, as always, the early word on whether or not Singer’s ambitious pic delivers to the over exuberant fansites of the web. Granted, these include your usual hyper-excitable movie-fan types, but the early tide of praise coming from the first "Super" screening may also mean WB’s Movie of Steel has won over its harshest, comic book-purist critics.

"Superman Returns": This ain’t no "Smallville"

Nearly all of the early reviews are in agreement that, although it’s not as comic book-ish as other recent superhero flicks ("Spiderman," for example), "Superman Returns" deftly combines action (but not too much action), romance (but not too much romance), and drama, all to a satisfying end.

For what it’s worth, AICN surprisingly offers a few morsels of criticism (‘The pacing is a bit off…["Superman Returns"] never reaches the emotional levels of Donner’s [1978 original] film‘) before concluding that nearly every kind of viewer will love it:

"It’s a very good action-romance-adventure-soap opera movie, that should satisfy almost all kind of audiences (but MTV-influenced teenagers… it’s too slow for them), and it ends up being very emotional (the last 20 minutes, pure drama, are absolutely brilliant)."

Also agreed by many is that Singer’s casting gambles will pay off. Besides obvious crowd-pleaser Kevin Spacey as legendary baddie Lex Luthor, a Kryptonian weight has been placed on the shoulders of newcomer Brandon Routh — not only to carry his enormously budgeted big-screen debut, but to fill the well-worn and beloved tights of the late Christopher Reeve. Add to that the selection of cinematical surf chick Kate Bosworth in the pivotal role of Lois Lane, another celebrated character in the annals of "Superman" comics, movies, and television. And how about Singer’s movie-history mash-up move to resurrect Marlon Brando from the dead, to reprise his role as Jor-El from 1978’s "Superman?"

Early reviewers believed both Routh as a Man of Steel and Bosworth as a Pulitzer Prize-winning journalist

Jonah Weiland, writing for Comic Book Resources, tosses his comic-geek skepticism aside to deliver a bold statement indeed (emphasis ours):

"Brandon Routh turns in a performance that at many times plays as an homage to Christopher Reeve’s legendary portrayal of Superman while managing to prove scene-after-scene that he now owns the role."

In his blog, Boston Herald film critic Stephen Schaefer applauds the casting of indie queen Parker Posey as Luthor galpal Kitty Koslowski, and declares further success for other supporting-actor choices:

"There is luminous Eva Marie Saint as Ma Kent once again in a movie, if only through screen magic, with her "On the Waterfront" leading man Marlon Brando whose work as Jor-El, the father of Superman, is recycled to positive effect."

Tone and casting aside, Singer seems to have nailed "Superman Returns" with his signature writing strengths. A sequel of sorts, this "Superman" is nestled in the timeline between "Superman II" and "III," and by Singer’s account was made with original director Richard Donner‘s blessing. A well-known comic-lover himself, Singer appears to have taken diligent care to be respectful of his superhero’s 68-year-history, mixing the nostalgic and cutting edge alike with the look and feel of his contribution.

Schaefer on the combination of eras and technology:

"The venerable Daily Planet, with its golden globe atop the Metropolis City landmark building, is a Thirties building with 21st century hardware, flat-screen monitors, computers and faxes. Parker Posey’s wry comic relief as Kitty, Lex Luthor’s moll, is, right down to her name, an evocation of Hollywood’s spunky, wise-cracking Forties heroine Paulette Goddard (with a bit of Jennifer Jones).

Lex Luthor (Kevin Spacey) manhandles his dog-toting moll Kitty (Parker Posey)

Journalists in attendance at the sneak screening were also treated to a preview of "Super" scenes in IMAX, in which gigantic format the pic will open simultaneously on June 28. If these reports are to be believed, the IMAX 3D sequences, like most of the pic’s impressive CGI, will blow audiences away. Interestingly, Singer did not film with the intention of an IMAX viewing; IMAX did a spec rendering after scenes were shot and later sold Singer on the idea.

Film writer Jeffrey Wells, whose Hollywood Elsewhere site has been a long-respected staple of entertainment media, gives an emphatic endorsement of the bigger-than-life 20 minutes of "Superman Returns" that will be shown in IMAX 3D:

"There’s an airborne action sequence in particular that delivered, for me, the greatest sensory thrill I’ve ever experienced from a mainstream movie in my life. There’s no question that anyone within reach of an IMAX presentation of this film HAS TO SEE IT THIS WAY."

By all accounts thus far, Singer’s "Superman" may just deliver this summer’s biggest (and best) blockbuster. If the cast is as solid as sneak reviewers claim, and the story as compelling, and the IMAX and CGI effects as mind-blowing, audiences certainly have a lot to look forward to in only a few short weeks.

Superman (Brandon Routh), filling out his blue tights nicely…

But despite their positive slants, none of the early previews are official critiques, and the big players of print and online film review have yet to be heard. "Superman Returns" currently sits with an Unofficial Tomatometer of 100% based on the sneak reviews available, none of which are Tomatometer critics (although they do include esteemed industry reporters like The Hollywood Reporter’s Anne Thompson, and The Boston Herald’s Stephen Schaefer).

More reviews will be added as they become available (and as Warner Bros.’ ban on early reviews passes), so we’ll have to wait to see if the Official Tomatometer of approved critics agrees with the earlybirds.

On a side note, for an interesting interview with Bryan Singer, check out The Hollywood Reporter article in which Singer discusses the lightning-quick genesis of the "Superman Returns" project, a cut scene explaining Superman’s absence that might make it to DVD, and his aversion to rehearsing scenes when making movies.

To read more articles and sneak reviews for "Superman Returns," click here.

Two of Mexico’s most excellent filmmakers, Alfonso Cuaron and Guillermo del Toro, are planning to get together and mount a new cinematic adaptation of Roald Dahl‘s "The Witches," which was last made into a movie by Nicolas Roeg in 1989. (The one with Anjelica Huston!)

Says Variety: "Del Toro is set to direct from his screenplay; Cuaron … will produce through his New York-based shingle Esperanto. Del Toro said his "Witches" adaptation would be "quite smaller but most likely very much designed," alluding to the eye-popping look of the previous pics. He has written 70-plus of what he expects will be a 100-page screenplay. For Del Toro, "The Roeg film is a brilliant movie but certain aspects are a departure from Dahl’s original … Dahl had the brilliance of writing children’s stories which shocked adults."

Films based on Dahl’s works include "Willy Wonka and the Chocolate Factory," "Charlie and the Chocolate Factory," "Matilda," and "James and the Giant Peach."