When handsome teenage boy Olly (Nick Robinson) moves into the house next door with his troubled family, Maddy is instantly taken by his jokey antics and boyish good looks.

A practical prisoner in her own home, the teenager dreams of the great outdoors and of being able to lead a normal life outside of her glass prison. Playing with pretty much the same ideas of love and loss as in The Fault In Our Stars, John Green’s far superior and more nuanced “sick-lit” adaptation, the film never quite manages to hit the right note and ultimately leaves its audience wondering why is a film which is mostly aimed at a young audience attempting to look like a stylish furniture commercial.ġ8 year old Maddy (Amandla Stenberg) suffers from a severe Immunodeficiency disease which could kill her if she ever left her house. Directed by newcomer Stella Meghie, the film is likely to score high with its target audience of love-struck teenagers, but might rightly leave the rest of us jaded adults slightly exasperated by its sickly sweet and not entirely believable premise. Bottoms is a promising movie to expand upon the variety of these wild and fierce female-centric comedies.Staring two of the most likeable young actors working in Hollywood right now, and adapted from Nicola Yoon ’s popular YA novel of the same name, Everything Everything is a deeply flawed, yet charming coming of age love story. In recent years, popular films like Olivia Wilde's Booksmart or Greta Gerwig's Lady Bird have presented these kinds of stories and proven the importance, relevance, and value of representing female adolescence within the space of the cinema. Let alone, it's even rarer to see queer leads in such movies, which highlights Seligman's commitment to including LGBTQ+ characters similar to her previous movie.

It's a rarity in cinema to see female-led comedic coming-of-age movies that explore crude or explicit themes similar to Superbad or American Pie. She described it as a 'campy queer high school comedy in the vein of Wet Hot American Summer but more for a Gen-Z queer audience'. Following Seligman's success with her feature directorial debut, she already had her next feature film in the works that would reunite her with Sennott as a lead star and writer.

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