Film

Confessions of a Teenage Drama Queen

A teen comedy about a theatrical, self-dramatizing new girl in New Jersey who lands a school play role and makes an enemy of the popular crowd. It's unambitious, fast, and lives entirely in that heightened movie-logic space where social stakes feel genuinely apocalyptic. Perfect if you like your comedy broad and your teen heroines unapologetically theatrical.

TMDb rating2.9

Should you watch it?

Watch it if you enjoy bright, candy-coloured teen comedies where a rivalry over a school play feels like the end of the world and the heroine's melodrama is played with a straight face and a wink.

Skip it if you find the high-school social pecking order tiresome, or you want sharp, grown-up wit rather than gentle, predictable teen mishaps with a sugary finish.

What it asks of you: Ninety minutes of easy, unhurried viewing, with a light touch throughout, asking you to go along with its exaggerated emotions rather than to think hard about them.

If you liked this

Mean Girls2004

The definitive teen social comedy: sharper dialogue, better-calibrated stakes, and characters who surprise you. Tina Fey's script has real wit alongside the heart. If you loved Lola's scramble for belonging, this explores it with more intelligence and just as much fun.

But It's been quoted to death and feels like homework by now. Everyone's seen it multiple times already.

Mean Girls poster

10 Things I Hate About You1999

A teen romantic comedy with genuine personality and a cast—Heath Ledger, Julia Stiles, Joseph Gordon-Levitt—who commit fully to the bit. The humor lands without trying to wink at the audience. It takes its own stakes seriously, which makes it work.

But The mid-90s soundtrack and style choices have aged in a way some find grating. The romance plot is fairly conventional.

10 Things I Hate About You poster

Heathers1989

A teen dark comedy that invented the template for high school as a micro-society with real hierarchies and real consequences. It's caustic and funny and genuinely unsettling in ways that make Lola's melodrama feel like the right response to an actual pressure cooker.

But It gets genuinely dark and cynical—if you want uncomplicated warmth, this isn't it. The '80s aesthetic is very '80s.

Heathers poster

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The wildcard

Something you would not have found on your own.

Hedwig and the Angry Inch2001

Both explore the armor of performance and the gap between the self you project and the one underneath. Lola plays a character; Hedwig IS one.

A musical about reinvention, identity, and being the most theatrical person in the room—but played with genuine pathos and rock-and-roll energy. John Cameron Mitchell commits fully to the artifice and the pain underneath it. Lola's self-dramatization becomes a survival mechanism.

But It's a rock musical with surrealist elements and a genuinely tragic core. If you want lightness without substance, the substance will feel like a betrayal.

Hedwig and the Angry Inch poster
More like this (8)

Clueless1995

The mother of all teen comedies: Cher's voice, confidence, and redemption arc set the template everyone since has followed. It's smart about fashion and status while being warm about its characters. Endlessly rewatchable.

But The valley-girl speak and designer-obsession plot feel dated now. If you find the premise shallow, the execution won't change your mind.

Clueless poster

The Princess Diaries2001

Similar energy to Lola—a girl discovering a secret identity that transforms her life and her social standing. Julie Andrews and Anne Hathaway have real chemistry, and it's genuinely charming without being sarcastic about its own earnestness.

But It's very much a Disney film: safe, predictable, and occasionally saccharine. No edge whatsoever.

The Princess Diaries poster

Bring It On2000

A teen comedy that sneaks social commentary into a cheerleading story. The cast is game, the humor is inclusive rather than mean, and it has surprising depth about appropriation and authenticity underneath the pom-poms.

But It's fundamentally about cheerleading, which requires you to care about cheerleading logistics. The message occasionally overrides the fun.

Bring It On poster

Freaky Friday2003

Jamie Lee Curtis and Lindsay Lohan in a body-swap comedy that's genuinely funny and genuinely moving. It has real stakes for both characters and handles the supernatural premise with charm and logic. Smart family viewing.

But It's explicitly a kids' film, so the stakes are intentionally low. If you're watching for sophisticated humor, you'll feel the limitations.

Freaky Friday poster

Jawbreaker1999

A cult dark comedy about mean girls and secrets that leans harder into the melodrama than most. Rose McGowan is committed and weird, the premise is genuinely twisted, and it doesn't soften its own sharp edges.

But It's genuinely unpleasant in places—the humor is cruel and the plot involves actual harm. The '90s teen-film aesthetic hasn't aged smoothly.

Jawbreaker poster

Sixteen Candles1984

John Hughes' template for the teen-girl comedy: overlooked girl, social hierarchy, a day that changes everything. The affection for its characters is real, and Molly Ringwald anchors it with intelligence and vulnerability.

But It's foundational but very much a product of 1984. Some of the humor and attitudes have aged poorly, and the pacing feels slow now.

Sixteen Candles poster

Ghost World2001

Both centre girls who perform identity as a strategy—but Ghost World asks what happens when the performance becomes the only thing real, and whether that's a tragedy or a survival skill.

A film about two girls navigating post-high-school alienation with sardonic wit and genuine loneliness. It's visually striking, darkly funny, and invested in the interior lives of people everyone else dismisses. Thora Birch and Scarlett Johansson are perfectly calibrated.

But It's quiet, deliberately paced, and ends on ambiguity. The humor is detached rather than warm. If you need resolution and sentiment, you won't find them.

Ghost World poster

Funny Face1957

Both are about reinvention and finding a version of yourself that fits—but Funny Face has the confidence of a musical to make that transformation genuinely beautiful instead of ironic or desperate.

Audrey Hepburn as a shy bookish girl transformed into a fashion model. It's a colour musical with real joy, genuine romance, and Hepburn being both vulnerable and radiant. The transformation is delightful but the film loves her before and after.

But It's a 1957 film with 1957 gender politics and fashion logic. The plot is gossamer-thin. If you need plot momentum, this will feel like standing still.

Funny Face poster

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