 
  Popularity: 4 (history)
| Director: | Kelly Fremon Craig | 
|---|---|
| Writer: | Kelly Fremon Craig, Judy Blume | 
| Staring: | 
| When her family moves from New York City to New Jersey, an 11-year-old girl navigates new friends, feelings, and the beginning of adolescence. | |
| Release Date: | Mar 29, 2023 | 
|---|---|
| Director: | Kelly Fremon Craig | 
| Writer: | Kelly Fremon Craig, Judy Blume | 
| Genres: | Comedy, Drama | 
| Keywords | christianity, new jersey, adolescence, based on novel or book, 1970s, puberty, female friendship, coming of age, religion, insecurity, woman director, speculative, mother daughter relationship, grandmother granddaughter relationship, jewish, stay-at-home mom | 
| Production Companies | Gracie Films, Lionsgate | 
| Box Office | Revenue: $21,800,000 Budget: $30,000,000 | 
| Updates | Updated: Feb 01, 2025 Entered: Apr 13, 2024 | 
| Name | Character | 
|---|---|
| Abby Ryder Fortson | Margaret Simon | 
| Rachel McAdams | Barbara Simon | 
| Kathy Bates | Sylvia Simon | 
| Elle Graham | Nancy Wheeler | 
| Benny Safdie | Herbert Simon | 
| Amari Alexis Price | Janie Loomis | 
| Katherine Mallen Kupferer | Gretchen Potter | 
| Kate MacCluggage | Mrs. Jan Wheeler | 
| Aidan Wojtak-Hissong | Moose Freed | 
| Landon S. Baxter | Evan Wheeler | 
| Echo Kellum | Mr. Benedict | 
| Mia Dillon | Mary Hutchins | 
| Gary Houston | Paul Hutchins | 
| Mackenzie Joy Potter | Mamma Bunny | 
| Olivia Williams | Witch | 
| Mike Platarote Jr. | Guy in Car | 
| Simms May | Norman Fisher | 
| Zack Brooks | Philip Leroy | 
| JeCobi Swain | Freddy Barnett | 
| Wilbur Fitzgerald | Morris Binamin | 
| Ethan McDowell | Mr. Wheeler | 
| Sloane Warren | Mrs. Fisher | 
| Isol Young | Laura Danker | 
| Eden Lee | PTA Mother | 
| Naida Nelson | PTA Mother | 
| Tahirah Harrison | PTA Mother | 
| Zach Humphrey | Salvation Army Guy | 
| Karen Aruj | Department Store Sales Lady | 
| Judy Blume | Neighbor Walking Dog #1 | 
| George Cooper | Neighbor Walking Dog #2 | 
| Joan Jackson | Neighbor | 
| Stephen Jackson | Neighbor | 
| Robert Haulbrook | Rough Looking Guy on Bus | 
| Johnny Land | The General | 
| Jennifer Errington | New York Restaurant Waitress | 
| Evan Bergman | Greg the Greeter | 
| Michael Wolk | Rabbi Kellerman | 
| Karen Macarah | Cantor | 
| Ariel DiDonato | Aliyah | 
| Claude Deuce | Gospel Singer / Pastor | 
| Keya Hamilton | Gospel Singer | 
| Tanya J. McClellan | Mrs. Loomis | 
| Dennis Delamar | Mailman | 
| Samantha LeBrocq | Mrs. Potter | 
| Wally White | Protestant Minister | 
| Holli Saperstein | Mrs. Webster | 
| Deborah Helms | Sweet Old Lady Cashier | 
| Cooper Herrett | 17 Year Old Cashier | 
| Gezell Fleming | School Librarian | 
| Jim France | Catholic Priest | 
| Rakeem Massingill | Art Student | 
| Name | Job | 
|---|---|
| Angela Stauffer | Art Direction | 
| Elisa Acevedo | Additional Hairstylist | 
| Selina van den Brink | Set Decoration | 
| Ashleigh Chavis | Key Makeup Artist | 
| Renee Goodwin | Makeup Artist | 
| Heather Hawkins | Hairstylist | 
| Deidre Outlaw | Makeup Artist | 
| Cecilia Veradi | Makeup Artist | 
| Christina Phensy | Assistant Art Director | 
| Guliza Covalinski | Additional Hairstylist | 
| Therese Ducey | Hair Department Head | 
| Diamond McCall | Hairstylist | 
| Lisa Rocco | Makeup Artist | 
| Alanna Dempewolff-Barrett | Set Designer | 
| Mike Cavell | Sound Mixer | 
| David Cook | Sound | 
| Sean Kachenmeister | Visual Effects Editor | 
| Andrew Woolley | Visual Effects Supervisor | 
| Dieter Sturm | Special Effects Supervisor | 
| Ben Zales | Music Editor | 
| Jason Blackman | Set Costumer | 
| David Lebensfeld | Visual Effects Supervisor | 
| Vinny Alfano | ADR Recordist | 
| Alisa Fredericks | First Assistant Director | 
| Brendalyn Richard | Second Assistant Director | 
| Christopher Lymberis | Camera Operator | 
| Jason Johnson | Digital Imaging Technician | 
| Demetri Evdoxiadis | Sound Editor | 
| Kellen Bloomer | Boom Operator | 
| Alexander Johnson | Visual Effects | 
| Michael Lebensfeld | Visual Effects | 
| Chad Ball | Special Effects | 
| Scott Wayne Graham | Utility Sound | 
| Grant Miller | Visual Effects Supervisor | 
| Tara Acquesta | Visual Effects Producer | 
| Kyle Arzt | Sound Re-Recording Mixer | 
| Kevin O'Connell | Sound Re-Recording Mixer | 
| Neal Gray | Second Second Assistant Director | 
| Monica Barrios-Smith | Second Assistant Camera | 
| Courtney Bridgers | First Assistant Camera | 
| Kelly Fremon Craig | Writer, Director | 
| Judy Blume | Novel | 
| Tim Ives | Director of Photography | 
| Oona Flaherty | Editor | 
| Nick Moore | Editor | 
| Steve Saklad | Production Design | 
| Megan Deputy | Makeup Artist | 
| Kimberly Greene | Makeup Department Head | 
| Justine Angus | Dialogue Editor | 
| Schuyler White | Special Effects Supervisor | 
| Ann Roth | Costume Design | 
| Hans Zimmer | Original Music Composer | 
| Irene Chun | Assistant Editor | 
| Name | Title | 
|---|---|
| Amy Brooks | Producer | 
| Jonathan McCoy | Executive Producer | 
| James L. Brooks | Producer | 
| Kelly Fremon Craig | Producer | 
| Julie Ansell | Producer | 
| Richard Sakai | Producer | 
| Judy Blume | Producer | 
| Organization | Category | Person | 
|---|
Popularity History
| Year | Month | Avg | Max | Min | 
|---|---|---|---|---|
| 2024 | 4 | 24 | 31 | 18 | 
| 2024 | 5 | 29 | 43 | 17 | 
| 2024 | 6 | 30 | 53 | 18 | 
| 2024 | 7 | 35 | 65 | 21 | 
| 2024 | 8 | 26 | 43 | 21 | 
| 2024 | 9 | 19 | 27 | 15 | 
| 2024 | 10 | 26 | 44 | 16 | 
| 2024 | 11 | 26 | 64 | 17 | 
| 2024 | 12 | 27 | 54 | 18 | 
| 2025 | 1 | 25 | 37 | 18 | 
| 2025 | 2 | 19 | 35 | 3 | 
| 2025 | 3 | 8 | 27 | 2 | 
| 2025 | 4 | 4 | 9 | 2 | 
| 2025 | 5 | 4 | 9 | 2 | 
| 2025 | 6 | 4 | 6 | 2 | 
| 2025 | 7 | 3 | 4 | 2 | 
| 2025 | 8 | 2 | 5 | 1 | 
| 2025 | 9 | 3 | 4 | 1 | 
| 2025 | 10 | 4 | 6 | 3 | 
Trending Position
| Year | Month | High | Avg | 
|---|---|---|---|
| 2025 | 9 | 550 | 633 | 
The engaging Abby Ryder Fortson is on strong form here as the eponymous girl who finds herself shifted by her parents to live across the Hudson in New Jersey. Now they are an happy family: mum "Barbara" (Rachel McAdams) and dad "Herb" (Benny Safdie) that is egged on now and again by her favourite, a ... nd mischievous, grandmother "Sylvia" (Kathy Bates). New house, new school, new friends and quickly settling in, she joins a secret club with three other girls and what now ensues is a rather poignant and entertaining coming-of-age tale as the girls compete with each other for just about everything from the cute "Philip" (Zack Brooks) to which of them has their first period or wears their first bra. I suspect this may well resonate more with girls than boys, but that doesn't compromise it's potency. These girls reflect behaviour and attitudes that could almost certainly be found in most schools around any country. The introduction of her conversations with God (her parents are a non-practising Jew and Christian respectively so she's been left to be undecided on the issue) upon whom she is relying to help her avoid disaster, get the boy and vent her frustrations become more relatable as the film proceeds. It's got a little unwelcome melodrama, but Kathy Bates manages to keep that under control with a punchy series of short but impactful contributions and the whole thing is effectively kept on an even keel by an enjoyable effort from McAdams. The pacing and the writing are solid with some pithily apposite observations, and by the end I was just grateful that my hormones have long since given up the ghost!
“Are You There God? It’s Me, Margaret” is one of the first books I remember reading where I felt like the author really understood what it was like to be me. Judy Blume’s beloved book has been considered a rite of passage for many young girls, and the pressure of adapting the work for the screen had ... to be enormous for writer-director Kelly Fremon Craig. Thankfully, the film does the source material justice, creating a timeless coming-of-age story that brings the classic book to life. Sixth grader Margaret (Abby Ryder Fortson) is 11 when she is unexpectedly uprooted from her life in New York City to the suburbs of New Jersey. Her mom Barbara (Rachel McAdams) and dad Herb (Benny Safdie) assure her that she will make new friends and get a fresh start at school. Margaret doesn’t want to move away from her loving grandma (Kathy Bates) either, who constantly reminds the family that she’s unhappy they’ve moved so far away. While her mom has difficulty adjusting to her new role as a homemaker, Margaret is quickly accepted by neighbor Nancy (Elle Graham) into her secret club for girls with fellow classmates Gretchen (Katherine Mallen Kupferer) and Janie (Amari Alexis Price). They meet after school to talk about the important things: boys, getting their periods, and their developing bodies. The film stays mostly true to Blume’s original work, with a few potentially problematic things omitted and others added to build more drama. The novel heavily discusses religion, as Margaret’s mother was raised Christian and her father is Jewish, and the young girl struggles with finding a place where she belongs. Margaret prays to a god, but also asserts that she doesn’t believe in one. The film carries this theme well, and does not shy away from frank discussions about how religion divides people. There are plenty of scenes about the ups and downs of puberty, one of the most confusing and taxing time in the life of an adolescent. The body shaming of classmate Laura (Isol Young) feels particularly relevant today, as does the instance when Margaret finally realizes that she’s become a bully herself and decides to change things. Although I haven’t picked up the novel since I was 12 years old, certain scenes jolted the deepest recesses of my memory. Craig includes the most celebrated parts of Blume’s book, including Margaret’s major crush on neighborhood boy Moose (Aidan Wojtak-Hissong), bra shopping with mom, and perhaps the most famous of them all, “we must, we must, we must increase our bust!” A minor criticism is that parts of the story feel rushed in favor of building a meatier history for the supporting characters. There’s a couple of new storylines that work well in the film, but sometimes it’s a tradeoff that feels unnecessary. In one of her smartest moves in dealing with the screen adaptation, Craig wisely keeps the story set in 1970, just like the original. It lends a heavy dose of nostalgia that takes you back to a time of innocence, an era without iPhones or the internet. I’m certain the film wouldn’t work as well if it took place in present day, and I’m so happy that the studio didn’t try to modernize the story. (Here’s hoping the timeless tale will still resonate with preteens today). “Are You There God? It’s Me, Margaret” takes an enduring classic and turns it into a sweet, wholesome movie about growing up, the value of friendship, the support that comes from a loving family, and the very real struggle to find a sense of belonging in this world. It’s uplifting, perfectly cast, and accurately captures the most awkward time in a young girl’s life. In other words, it expresses the essence of Judy Blume’s most famous work.
If I didn't know better, I'd think this was a Neil Simon play. But I'm not a girl and in my youth I read Hardy Boys, not Judy Blume. The movie is very well done. Abby Ryder Fortson does one helluva job with the lead role. It's a little humorous and a little heartwarming. And I hate to give it ... only a 7, but it's just not my cup of tea and I didn't see anything so super creative that it deserved a higher score.
If I didn't know better, I'd think this was a Neil Simon play. But I'm not a girl and in my youth I read Hardy Boys, not Judy Blume. The movie is very well done. Abby Ryder Fortson does one helluva job with the lead role. It's a little humorous and a little heartwarming. And I hate to give it ... only a 7, but it's just not my cup of tea and I didn't see anything so super creative that it deserved a higher score.
FULL SPOILER-FREE REVIEW @ www.firstshowing.net/2023/review-are-you-there-god-its-me-margaret-is-a-pleasant-surprise/ "ARE YOU THERE GOD? IT’S ME, MARGARET stands out as a triumph in the coming-of-age subgenre. Its refusal to shy away from sensitive subject matters, coupled with brilliant perform ... ances and a meticulously crafted script, results in a story that not only entertains with astute humor but also resonates on a deeply personal level. It's a testament to Kelly Fremon Craig's commitment to authenticity and storytelling that transcends the boundaries of age and gender. A poignant, relatable portrayal of the complexities of adolescence, leaving a lasting impact on its audience.“ Rating: A-