Neil BakerKids Classics: 15 fabulous family-friendly movies.
1.
THE LION, THE WITCH AND THE WARDROBE (2005)
C.S Lewis and J.R.R Tolkien shared a close but turbulent relationship born in the dreaming spires of Oxford. Tolkien was critical of Lewis’ Chronicles of Narnia and its use of religious iconography and narrative beats, while Lewis offered encouragement and support for Tolkien’s Lord of the Rings. Both men were intrinsically linked, and a shared love of history would sit central to the creation of their fantasy worlds. Tolkien built his fantasy world from the horrors of the First World War, while Lewis placed his biblical fantasy into the hands of young evacuees during the Second World War. The Lion, the Witch and the Wardrobe would lace its story of betrayal and resurrection with elements of classic Greek mythology, pagan belief and fantasy, sculpting a world that celebrated Christian biblical texts while exploring broader mythology.
Andrew Adamson’s beautiful, thoughtful, and stunning adaptation opened to positive reviews on the 9th of December 2005, bringing the world of C.S Lewis to life in exquisite detail with puppetry, physical effects and CGI. Unlike the equally impressive BBC TV series, Adamson had the budget and technical power to add scale, enlarging Narnia into a breathtaking world of darkness and light. Walden Media always envisioned The Lion, the Witch and the Wardrobe as the opening chapter of a series, and true to their word, Prince Caspian and The Voyage of the Dawn Treader would follow. However, due to legal disputes over rights between Walden Media, 20th Century Fox, and Disney, The Voyage of the Dawn Treader would be the final Narnia outing. Disney’s acquisition of Fox would later solve this legal battle, but, as yet, there are no signs of any return to Narnia.
2.
ALPHA (2018)
Alpha is the story of a teenage boy, a wolf and the birth of a union that remains steadfast today. Keda (Kodi Smit-McPhee) is the firstborn son of clan leader Tau (Jóhannes Haukur Jóhannesson), who is training his son to one day take control of the tribe. Here, Keda learns hunting, spearcraft, survival and leadership under the instruction of Tau. But Keda’s mother (Natassia Malthe) is less convinced of her partner’s training techniques, stating that Keda “leads with his heart, not his spear.” Despite her concerns, Tau decides his son is ready for his first hunt, leading Keda and his fellow hunters into the plains for wildebeest. This is the perfect time for Tau to instruct Keda on the dangers of the hunt, navigation using only the stars and the survival techniques he must master and own.
But the hunt ends in tragedy as a herd of wildebeest tear through the group and toss Keda’s young body over the side of a cliff, where he lands lifeless on a steep ledge. Keda is unconscious, his body limp and unmoving, and with no way to reach him, his father believes he is dead. Grieving his loss, Tau leads his men back home. Days later, Keda awakes as a flash flood offers a dangerous opportunity to escape the ledge. But as he reaches land, his leg badly broken, a pack of wolves stalk his every step. Keda has no choice but to fight the ravenous wolves, injuring one of the pack in the scuffle. But as Keda and the injured wolf lay on the ground, their energy spent, a spark of companionship grows. Could they achieve more together than apart?
Albert Hughes avoids using any simple Disney story arcs in a film that firmly stamps its place as a survival adventure movie. Here, stunning action sequences and moments of quiet reflection sit side-by-side in a film with limited need for language. Kedu speaks an ancient dialect, and subtitles are used throughout, smartly introducing kids to the world of foreign cinema through an American production full of heart-pounding action. But the real genius sits within the breathtaking cinematography of Martin Gschlacht, the rousing score of Joseph S. DeBeasi and Michael Stearns, and the cracking central performance of Kodi Smit-McPhee.
KIDS CLASSICS
3.
HUGO (2011)
Based on the novel “The Invention of Hugo Cabret” by Brian Selznick, Martin Scorsese’s Hugo is a technical marvel and a love letter to the birth of cinema. Set amidst the hustle and bustle of Paris’ Montparnasse train station in the early 1930s, a young orphan, Hugo Cabret (Asa Butterfield), lives in the station’s clock tower, repairing and maintaining the clocks. Hugo lost his mother at a young age and then his clockmaker father (Jude Law) in a dreadful fire and now lives alone, hiding in the train station’s walls and avoiding the station inspector (Sacha Baron Cohen). As Hugo attempts to repair an automaton his father was working on before his death, he steals parts from a shopkeeper who sells mechanical toys and magic tricks. However, unknown to Hugo, the shopkeeper is the legendary film director Georges Méliès (Ben Kingsley) – a man whose groundbreaking films are all but forgotten following the horrors of the First World War. But when his goddaughter, Isabelle (Chloe Moretz) and Hugo become friends, a mission is born to celebrate the work Georges has kept locked away.
For those unaware of Georges Méliès and the place he holds in film history, let me briefly explain. Many will be aware of a silent film from 1902 entitled A Trip to the Moon; in this film, a rocket crashes into the face of the moon before we witness a group of explorers walk out onto the surface. Directed by Georges Méliès, A Trip to the Moon remains one of film’s earliest examples of special effects and fantasy. Long before The Wizard of Oz brought technicolour to our screens, A Trip to the Moon was painstakingly hand-coloured, making the film the second colour movie ever made following Le Château hanté also directed by Méliès.
To say Georges Méliès was one of the fathers of modern cinema is an understatement; after all, many of the effects we now take for granted were created by him. Here, Méliès invented the split screen, stop motion, and jump cut, taking us from the Lumière Brothers’ love of real life to the fantastical and magical world cinema would later embrace. Méliès brought his skills as a theatre magician to the screen and, in turn, changed cinema forever. However, most of his work was burned following the First World War, and by 1925, Méliès was penniless, running a small toy booth in the Paris Montparnasse train station. But history has been kinder, and Méliès has rightly regained his crown as a true pioneer of early cinema. Without Méliès, our cinematic world would be very different; he was a genius, a visionary and an artist. Hugo celebrates his life, artistry and vision through a fantastical clockwork world that Méliès would approve of.
4.
THE GOONIES (1985)
To say 1985 was an impressive year at the box office is an understatement; it was the year that saw The Color Purple, Back to the Future, The Breakfast Club, Fright Night, Witness, The Explorers and, of course, Richard Donner’s The Goonies. The Goonies may have been born in the imagination of its Executive Producer, Steven Spielberg, but its journey to the screen was a collision of creative minds due to Spielberg being unavailable to direct the picture himself. Spielberg would turn to the new Amblin Entertainment writer Chris Columbus to draft what was to become The Goonies following his script writing duties on Gremlins in 1984.
In Columbus’ hands, Spielberg’s vision would, like Gremlins, become a comic book world of fantasy, adventure humour and escapism. Here, the classic kid’s adventure movies of the 1950s would merge with Indiana Jones-inspired action and 1980s pop culture to create a film unlike anything before or since. Spielberg opted to pass directing duties to Richard Donner, a man who brought with him a diversity of experience that ranged from The Omen to Lola and Superman the Movie. Donner loved the James Bond franchise and brought that love to The Goonies in spades; just look at the character of Data, whom Donner sculpted from Columbus’ initial draft. With three creative titans on board, The Goonies would inhabit the same world as Gremlins, pay homage to Indiana Jones and James Bond, and even offer a loving nod to Superman the Movie.
Throughout The Goonies, adults are placed at arm’s length, with the villains never equalling the intelligence and ingenuity of our young adventurers, a theme Chris Columbus would return to in his directorial debut Adventures in Babysitting. Over the years since its release, many films and TV shows have attempted to recreate the magic of Donner, Spielberg and Columbus’ teenage adventure, but few have managed to emulate its success. The Goonies is a joy and a rip-roaring wonder of mid-80s cinema that, like its 1985 cousins Back to the Future and The Breakfast Club, continues to inspire directors, producers, actors and audiences today.
KIDS CLASSICS
5.
THE ADVENTURES OF HUCK FINN (1993)
Mark Twain’s 1884 novel has been adapted for the screen many times since the first 1918 silent screen adventure, Huck and Tom. Set along the banks of the Mississippi River, Twain’s book has become engrained in the history of literature, with literary giants like Ernest Hemingway stating that American literature started and stopped with “Huck Finn”. Twain’s language, violence, cutting satire and breadth are unique in children’s literature, as he dovetails adventure with humour and social discussions ranging from domestic violence and slavery to war and religion. However, the breadth and depth of Twain’s work have led to challenges for filmmakers, especially in translating the text for young audiences. As a result, many adaptations have watered down the novel’s social themes and violence in favour of a kid-friendly spit-and-sawdust adventure.
When Disney announced a live-action version of Huckleberry Finn, many anticipated yet another watered-down adaptation of Twain’s novel. After all, the Disney machine was, and essentially still is, fearful of anything that challenges its family-friendly image. But, first-time director Stephen Sommers achieved something rather unique with his 1993 adaptation. Sommers brought Twain’s work to a young audience while maintaining elements of darkness. The result was a rip-roaring adventure that didn’t shy away from a deeper exploration of Twain’s work. Despite the film’s opening narration from a young Elijah Wood stating, “Get ready for a spit-lickin‘ good time!” The Adventures of Huck Finn never falls into the Disney trap of becoming coy or cute. Sommers always maintains Huck’s core journey of enlightenment through the denial of Jim’s civil rights while attempting to incorporate the language of Twain’s world. The Adventures of Huck Finn is full of charm, beauty and respect for Mark Twain’s novel and deserves more critical praise.
6.
HORRIBLE HISTORIES: ROTTEN ROMANS (2019)
Based on the hit books by Terry Deary, Horrible Histories first hit TV screens in 2009, mixing historical fact and fiction with humour, sketches and songs. Horrible Histories offered children and adults a delightful mix of fun and learning, its recipe a massive success for Children’s BBC as it moved to a new stand-alone channel.
From the get-go, Horrible Histories: Rotten Romans is a proudly British film, echoing the ingenuity and charm of the TV show, Ealing comedies of the past, Monty Python and the Carry On series. Opening with a tongue-in-cheek take on the treacherous murder of Claudius (Derek Jacobi) by his moody and insolent son Nero (Craig Roberts) and scheming wife Agrippina (Kim Cattrall), Horrible Histories delights in creating a freewheeling atmosphere. But the story really picks up pace when we are introduced to Atti (Sebastian Croft), a typical Roman teen looking for a pair of golden boots. Unfortunately for Atti, the golden boots he seeks will lead to his banishment by Nero to the ‘Stain’ of the Empire (aka Britain). However, soon after arriving, Atti is captured by a fiery Celt girl named Orla (Emilia Jones) as a new Celt warrior called Boudicca (Kate Nash) builds an anti-Roman alliance.
From the outset, Horrible Histories: Rotten Romans offers us a joyous musical-comedy that feels fresh and innovative, its comedic charm pulling in young and old alike. Jessica Swale and Giles Pilbrow’s screenplay is packed with glorious one-liners and wit as they pull off the tough job of translating a TV sketch show into a feature-length story. Performances are equally fun, light and energetic, with Sebastian Croft, Craig Roberts and Emilia Jones delightful alongside a stunning ensemble cast. The result is a delicious mix of history, humour and fun that appeals to all ages.
KIDS CLASSICS
7.
MRS DOUBTFIRE (1993)
Love knows no bounds, and Mrs Doubtfire proved it! Released in 1993, Chris Columbus’ divine comedy drama starring the late great Robin Williams captivated audiences through its heartwarming story of fatherhood, family separation, love, and acceptance. Robin Williams’ masterful performance sees Daniel Hillard, a devoted but irresponsible father going through a divorce, create an eccentric British nanny named Mrs Doubtfire to spend much-needed time with his kids. Here, Daniel’s new persona becomes a source of comfort and stability for his kids during some of the most challenging times while helping him build bridges with his estranged wife (Sally Field). This finely tuned comedy plays to Williams’ freewheeling comedic strengths throughout, but under the laughter lies a highly thoughtful and tender exploration of divorce and its impact on children. Here, Mrs Doubtfire beautifully highlights the importance of communication and understanding when family life suddenly crumbles through a story wrapped in laughter and love.
8.
WOLFWALKERS (2020)
The year is 1650, and the place is Kilkenny, Ireland. Oliver Cromwell’s puritanical and violent subjugation of the Irish people is underway as colonial English forces establish new towns by carving away swathes of ancient woodland. Bill (Sean Bean), a robust, northern English man, has been dispatched to Kilkenny with his young daughter Robyn (Honor Kneafsey) to rid the woods of the native Irish wolf. However, deep in the forest, an ancient magic survives in the form of a mother and her young daughter. From the Kilkenny-based studio Cartoon Saloon, the creative force behind The Secret of Kells, Song of the Sea and The Breadwinner, Wolfwalkers is a beautiful, engaging and thoughtful journey into folklore and fantasy. Here, the animation is a living and breathing watercolour that lights up the screen, bathing us in its artistic brilliance. Wolfwakers is about diversity, humanity, friendship and acceptance, but it is also about the darkest periods of Irish history as Cromwell attempted to strip Ireland of its culture and individuality. It is an animated masterpiece full of charm, heart and artistic wonder.
KIDS CLASSICS
9.
MUPPET TREASURE ISLAND (1996)
Following the model established in The Muppet Christmas Carol (1992), Brian Henson’s second feature would move from Dickens to Robert Louis Stevenson for inspiration. However, unlike The Christmas Carol, Treasure Island would steer a more comedic course. The result was a wild Muppet adventure, where Tim Curry stole the show as Long John Silver alongside a young Kevin Bishop as Jim Hawkins. However, the fact that Muppet Treasure Island is remembered more for Curry than Kermit would lead to unfair criticism of the final film. Muppet Treasure Island is a beautifully made picture that continues to build on the emerging confidence of Brian Henson’s pre-Disney studio while returning to a Muppet Show-inspired style of comedy. So lay anchor and grab the popcorn because you won’t find a better anarchic musical adventure.
10.
STAR WARS – A NEW HOPE (1977)
In May 1977, a cinema event unlike anything before was about to take place: the premiere of Star Wars – A New Hope. The cultural impact of Star Wars is undisputed, from its transformative effect on science fiction and adventure to its revolutionary visual effects and sound. Star Wars leapt from the screen into the hearts, minds and imaginations of a whole generation, me included, enthralling, captivating and embedding itself in our world. Star Wars would play with age-old themes of friendship, family and good versus evil, embracing Greek and Japanese mythology while paying homage to the work of Tolkien, Asimov and Herbert. It would build on the visionary special effects work of Stanley Kubrick’s 2001: A Space Odyssey while celebrating the energetic space operas of the 1950s and 1960s. And it would reflect the 70s social revolution already underway.
Star Wars offered a new hope for change and equality as a youthful and diverse rebellion took on an ageing, stale and corrupt empire of oppression. Here, our orphaned hero, Luke Skywalker, would be joined by the wise grandfatherly figure of Ben Kenobi, the strong, resilient and politically astute Leia and the brave but conflicted Han Solo in building a rebellion of faith, belief and conviction – one that would destroy a weapon of mass destruction, The Death Star, through perseverance, endurance and loss. This was a younger generation dismantling the advancement of hate, brutality, destruction and war. Star Wars spoke to young people’s hopes, dreams and aspirations in a changing world while creating a new cinematic landscape. It is the movie that ushered in a new age and changed filmmaking, cinema and storytelling forever.
11.
JUMANJI (1995)
Mention the film Jumanji to any kid today, and they will no doubt talk about Dwayne ‘The Rock’ Johnson. The relaunch of Jumanji captured the imaginations of a new generation accustomed to computer games while paying homage to the original. However, as with all remakes and reinterpretations, many kids watching “The Rock” today have never seen the 1995 film. The 1990s heralded a gigantic leap forward in digital effects on screen, with Terminator 2: Judgment Day (1991) and Jurassic Park (1993) pushing the boundaries of digital on-screen effects. Meanwhile, theatrical sound also stepped out of the shadows of Dolby Stereo (SR), with DTS Digital and Dolby Digital wrapping the audience in spacial audio like never before. However, while these technological advances were groundbreaking, many movies still relied on practical effects, stop motion and model work to sweep a viewer away to new worlds. Like Jurassic Park, Jumanji is a fascinating example of a movie with one foot in the new digital world and one in old-school physical effects.
Jumanji is as frantic as the wild creatures at its heart, taking us from 1869 to 1969 before ending in 1995. Here, director Joe Johnson plays with themes of time, love, belonging and isolation while paying homage to the fantasy and adventure films of Steven Spielberg, Richard Donner and Joe Dante. Robin Williams is off the leash yet vulnerable, while the two kids at the heart of the action, Judy (Kirsten Dunst) and Peter (Bradley Pierce), create a joyous sense of fun and adventure. Twenty-seven years after it hit our screens in 1995, Jumanji’s effects work is a tale of two halves, with only some of the groundbreaking digital work remaining impressive. However, as with many early digital movies, it is rescued by its physical effects work.
KIDS CLASSICS
12.
MY GIRL (1991)
Now often overlooked, Howard Zieff’s poignant coming-of-age drama My Girl remains a stunning exploration of death, grief, and the pain of bereavement in childhood. Films exploring these themes set during early adolescence remain rare, and while many coming-of-age movies include death as a narrative device, few place grief at the heart of the core narrative. My Girl, like A Monster Calls and Kindling, has the confidence to place death front and centre while exploring friendship and coming-of-age themes as we join Vada Sultenfuss (Anna Chlumsky), her dad Harry (Dan Aykroyd) and her new friend Thomas (Macaulay Culkin) during a 70s summer of change and transformation.
My Girl perfectly captures the complexities of the coming-of-age process through Vada’s exploration of her identity and the loss of a friend who, like her, sat on the fringes of school life. Here, the film’s exploration of self-discovery, first love, and loss tugs at the heartstrings without manipulating its audience. My Girl remains one of the best kid’s movies of the early 1990s and a testament to the power of cinema in helping kids explore grief.
13.
THE WIZARD OF OZ (1939)
For 85 years, The Wizard of Oz has captivated audiences with catchy tunes, charm and technicolour beauty. On its release in 1939, it sat on the cutting edge of filmmaking, wowing people with its use of colour, grand sets and flying monkeys. MGM’s lavish adaptation of Baum’s book was not the first to grace the silver screen; there had been a silent movie version in 1910, but MGM’s lavish adaptation was a world away from anything that had come before and was mired in technical problems and turbulence from day one. Costumes were so restrictive that actors could barely move, toxic paints were used as makeup, leading to burns and chest problems, effects went wrong and caused injuries, and the young Judy Garland was fed uppers and downers.
Meanwhile, the ever-increasing budget for The Wizard of Oz would only add to MGM’s woes, as it reached the unheard-of cost of 2.7 million dollars, double the cost of any previous MGM picture to that date. Hopes were high that Victor Fleming’s film would attract large cinema audiences on its release, but despite positive reviews, hardly any bums ended up on seats, leading to re-releases in 1949 and 1955 to try and rake back some of the cost. Yet, for all its problems and failings at the time, it has become one of the most loved cinematic treasures of Hollywood’s Golden era. Its songs have become legendary, its themes of found family, equality and hope timeless, and its performances eternally endearing.
But look deeper, and Dorothy’s journey through Oz is a journey through a changing social landscape, one where political deceit had become the norm, new cities offered dreams they couldn’t fulfil, and people followed leaders who claimed to have all the answers but in reality, had none as they hid behind tricks and curtains. Maybe we are living in Oz now? And perhaps not much has changed since 1939. Or maybe The Wizard of Oz finds meaning in every generation it touches based on the world surrounding it at the time. If that’s the case, there’s no denying that Victor Fleming’s troubled yet beautiful film is one the greatest moving pictures ever made.
KIDS CLASSICS
14.
FREE WILLY (1993)
By the mid-1970s, the international “Save The Whale” campaign had begun to make its voice heard in abolishing the whaling industry, and by the early 1980s, the International Whaling Commission had brought forward a moratorium on the commercial practice. This transition in public thinking was also reflected in films, from A Whale for the Killing (1981) to Star Trek IV: The Voyage Home (1986). However, while this campaign marked a considerable step forward in protection, discussions on the cruelty inflicted on performing whales, dolphins and sea lions remained silent. Here, the business of SeaWorld and others thrived on a circus model that was beginning to feel uncomfortable. However, by the 1990s, the tide was slowly turning on using whales and dolphins as entertainment, and one film was about to turn that wave into a tsunami.
Free Willy was more E.T. The Extra-Terrestrial than Flipper as a boy and a whale united in seeking escape, freedom and love through the story of a lonely, damaged and angry foster child and an equally lonely performing whale. Bathed in the beautiful cinematography of Robbie Greenberg and brought to life by the outstanding score of Basil Poledouris, Free Willy would combine stunning animatronic work with a real Killer Whale held in captivity called Keiko. It would challenge the commercial footprint of organisations such as SeaWorld and light a fire in the call for these animals to be set free. Keiko the Whale, just like Willy, found his freedom in 2002, sadly dying not long after, but his role in redefining our views on captivity for entertainment will live on forever.
15.
E.T. THE EXTRA-TERRESTRIAL
Close Encounters of the Third Kind may have announced Steven Spielberg’s arrival as a filmmaking genius, but E.T. The Extra-Terrestrial cemented his place as a silver screen legend. No film before or since has matched Steven Spielberg’s 1982 family picture in either charm, power, or beauty. E.T. The Extra-Terrestrial transcends the year of its birth as it enthrals and inspires new generations over forty years after its release. Here, the emotional, funny, and magical story of Elliott and his vulnerable alien friend from a distant star speaks to the child in every one of us.
E.T. The Extra-Terrestrial was born from Steven Spielberg’s childhood experiences of divorce and the memories of insecurity and separation that followed. In E.T., Elliott grapples with the breakup of his parents while feeling disconnected from his older Dungeon and Dragon’s loving brother and a younger sister who does not fully understand the ramifications of the family breakdown. These human emotions and fears surround the arrival of E.T. The Extra-Terrestrial as we explore love, friendship and separation through the eyes of a ten-year-old boy. Every camera movement and angle reflects Elliot’s perspective of the world around him as an alien (who feels like him) enters his life.
We all have magical friends during childhood, especially during times of stress, when the world feels scary or dark. These friends often take the form of soft toys, figures or pets, who provide security and listen without prejudice. Even as we enter adulthood, we find ourselves wishing on a star or looking to the heavens for answers to our troubles, fears or apprehensions; E.T. is the physical embodiment of that act.
E.T. The Extra-Terrestrial reminds us of a child’s need to find meaning in the confusing actions of adults and the ability of all children to see beyond the physical differences and cultural barriers that often separate us. It offers us hope and speaks directly to our fear of loss, reminding us that our journey with others remains in our hearts no matter the distance between us. The film’s final farewell, “I’ll be right here,” sees E.T. point his finger towards Elliott’s chest, indicating that no matter the distance or the loss, memories, experiences and love last forever in our hearts. Spielberg’s film is about the power of recovery, unity and love, even when it may feel like our world is falling apart. It is unquestionably one of the most beautiful films ever made; it transcends time, allowing our inner child to break free while comforting every new child who finds its magic. E.T The Extra-Terrestrial reflects the dreams and fears of us all, regardless of age or difference, through wonder, fantasy and imagination.
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