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While it might be surprising, the top earning movie at the box office in 2022 (so far) is also rated PG-13 with Top Gun: Maverick bringing in over 716 million in gross profits. Funny enough, the second and third-biggest movies of the year, Doctor Strange In The Multiverse Of Madness and Black Panther: Wakanda Forever, are also rated PG-13.

The PG-13 rating generally means the movies are sensitive to a younger audience but could contain some more mature themes not suitable for younger children. Not always scandalous, there have been quite a few great films to hold this rating and Redditors have spoken out about the best PG-13 movies to ever hit the screen.

Persepolis (2007) Rent On Prime Video

"Persepolis is an amazing film that is PG-13" says Reddit user LostInTheDothrakiSea. An animated adaptation of Marjane Satrapi's graphic novel series of the same title, the 2007 Academy Award nominee chronicles Satrapi's life...

When Netflix got into the original programming business, it presented itself as a safe space for cancellation-scarred viewers. Netflix shows wouldn’t necessarily run forever, but their creators would at least be given warning to wrap up the story. Eventually, though, the almighty algorithm decreed that long runs were a bad thing — particularly the ones that weren’t aiming for a Stranger Things-sized audience — and the streamer forced many shows to wind down with a third season. And now, we’re in a moment where Netflix has begun abruptly...

Mae is an addict. It doesn’t matter that she’s been in recovery for “a long time,” as she vaguely assures her new girlfriend, she will always be an addict. That’s what the eccentric folks at her wildly unhinged Narcotics Anonymous meetings tell her, anyway. Her erratic behavior, which includes burning all her possessions in a trash can and saran-wrapping her phone inside a suitcase so she won’t text her girlfriend too much, makes a pretty strong case for the argument.

Anyone in recovery will tell you that addiction is about so much more than substance abuse. Even once sober, addicts substitute obsession with the high found with another obsession. That’s the savvy central tenet of “Feel Good,” a wildly entertaining breath of fresh air of a series arriving on Netflix just in the nick of time. Hilariously crafted, thrillingly paced, and brimming with the kind...

Transcending the metaphysical impenetrability of “Post Tenebras Lux” and evading the unrestrained grotesqueness of “Battle in Heaven,” illustrious Mexican auteur Carlos Reygadas has spawned his most narratively accessible and emotionally open work to date, “Our Time” (“Nuestro tiempo”), an unhurriedly paced three-hour study of marital anguish caused by idealist parameters of love.

Told with his signature epic visuals — wide shots of majestic landscapes captured under stunning natural light — that lend grandeur to the intimate, the film is personal in essence, even if specifics differ from the director’s off-set life. That line between the personal and the autobiographical might blur a bit; “Our Time” was shot on Reygadas’ family ranch in the small Mexican state of Tlaxcala near Mexico City, with him, his wife Natalia López, and their children cast as lead actors.

Before we meet the couple in disarray, a sun-dappled sequence of children and adolescents engaged in rowdy...

The camera flies over the plains of the Mexican countryside. After crossing a series of clouds, it happens upon a monumental city. The sound tells us that we observe it from an airplane. As this stunning vision reveals itself, Esther (Natalia López), a rancher and mother of three, reads in voice over a statement of her intimate world to Juan (Carlos Reygadas), her husband, a renowned poet lost in a vortex of jealousy because his wife has fallen in love with Phil (Phil Burgers), an American horse trainer. While we experience the airplane’s ordinary landing, a sensory manifestation happens, through a masterful use of sound and image. Of what? Of feelings itself. As in this sequence, the controversial Mexican auteur Carlos Reygadas takes us into the intimate, sentimental and psychological universe of his characters in his most recent feature film, Our Time. His epic fifth feature film is more...

At least based of its original title of Where Life is Born, director Carlos Reygadas’ fifth feature film from the outset seemed to promise the ultimate realization of his festival-approved Transcendental Vision. Yet what we finally received instead six years after his last feature is a three-hour cuckold drama that’s thankfully at least a little closer in spirit to the lizard-brained surrealism of Post Tenebras Lux as opposed to his banalization of Dreyer (and still art-house calling card) Silent Light. One almost wants to describe it as admirably awkward; the feeling of both watching a train-wreck unfold in (very) slow-motion and a work of art that very boldly and genuinely seeks to please no one.

In his first misstep, Reygadas casts himself and his wife, Natalia Lopez, in the lead roles of Juan and Esther, respectively, a wealthy couple living on a ranch in the countryside outside Mexico City.

Early into Carlos Reygadas’ Our Time (Nuestro Tiempo), the camera follows Esther (Reygadas’ spouse Natalia López) as she drives home to her ranch, husband Juan (Reygadas himself) and kids. Esther is coming home from a motel where she met and slept with Phil (Phil Burgers), an affair Juan is slowly coming to terms with and will later encourage, in a toxic cuckolding game that will anchor the most part of Our Time’s whopping 173 minutes. The camera stays on her face, and then, as in a magic trick, moves into the car’s engine. It’s a moment of ineffable beauty: Esther drives home, enamored, a mellow tune engulfs the car, and a whole world vibrates inside of it, filling the screen with a cacophony of pistons, valves, and energy. The scene comes at the end of Our Time’s first act—if the word could ever apply to Reygadas...

Those hoping the narrative wackiness of “Post tenebras lux” was an aberration in Carlos Reygadas’ career might long for the earlier film’s Dadaist jumps after watching “Our Time,” a maddeningly over-indulgent bid at self-analysis on screen that even the director’s shrink might find banal. Once again corralling his family into the picture, the director stars as a rancher-poet whose ideas about open marriage are challenged when his wife (naturally played by Reygadas’ wife Natalia López) rather too much enjoys an affair with their American horse-whisperer. Shots of testosterone-charged bulls are flagrantly inserted to ensure audiences get the mundane commentary on masculinity, though they’re far preferable to scenes between husband and wife.

The director’s collaborations with cinematographers have always resulted in visuals of remarkable, unnerving beauty, yet even in this department “Our Time” has less to astonish than in previous films. Die-hard acolytes will argue that the...

To know Carlos Reygadas is to be perplexed; it’s hard to say exactly what happens in his films, or even if they’re enjoyable. His most recent, “Post Tenebras Lux,” earned him Best Director laurels at Cannes even as it divided everyone who wasn’t on the jury. That elliptical, two-hour exploration of the family unit encompassed everything from an anatomically correct Satan to a little girl getting lost in a field. However, the film also contained moments of great beauty amid the willful abstraction.

“Nuestro tiempo” (“Our Time”), which runs 173 character-building minutes, is likely to be received as another fans-only proposition that converts few but pleases those already inclined to enjoy his work. Those who don’t will sigh to learn that it’s set on a bull ranch (the animals in Reygadas’ films have as difficult a time as the humans), and is another family drama in which the director casts himself,...

"Have you been drinking, or what?" A trailer has premiered for the film Our Time, originally Nuestro Tiempo, the latest film from acclaimed Mexican filmmaker Carlos Reygadas. This is premiering at the Venice and Toronto Film Festivals this week, which is why the trailer is out now, even though the film is still looking for a distributor. Reygadas is a vibrant, visual filmmaker and this film runs almost three hours. The story follows a family in the Mexican countryside who raise fighting bulls. When Esther becomes infatuated with a horse trainer named Phil, the couple struggles to stride through the emotional crisis. Reygadas states: "When we love someone, do we want her or his well-being above all else? Or only to the extent that such implicit act of generosity does not affect us too much? In short: Is love a relative matter?" Starring Carlos Reygadas himself, plus Natalia López, Eleazar Reygadas,...

Award-winning multi-hyphenate Phil Burgers spent half his life traveling the world, living abroad in South America and Europe, before training at the prestigious French clown school, Ecole Philippe Gaulier — a workshop that has also trained Sacha Baron Cohen and Roberto Benigni. Acclaimed filmmaker Carlos Reygadas took note of Burgers’ work, and cast him in his latest opus, “Nuestro Tiempo,” which focuses on a Mexican family living in the country raising fighting bulls. The pic debuts at the Venice Film Festival. Burgers spoke with Variety about stepping in front of the camera for Reygadas, his background in comedy and what he has in store for the future.

How did you get involved with “Nuestro Tiempo”?

Carlos had seen a television special I did in the U.K. with Channel 4, and because I’m not a classically trained actor, and that’s what Carlos looks for when he does his casting...

Six years after Post Tenebras Lux, Mexican filmmaker Carlos Reygadas is returning. The highly-anticipated Our Time (aka Nuestro Tiempo) will premiere at the Venice International Film Festival next week, followed by a stop at Toronto International Film Festival, and now the first trailer has landed.

The film follows Reygadas himself alongside his real-life wife Natalia López in a story of a marriage in crisis, though the trailer teases a film far more expansive than that logline, especially considering its 173-minute runtime. Shot by Diego García, the cinematographer behind Neon Bull, Cemetery of Splendor, and the forthcoming Wildlife, we know it’ll at least be thoroughly gorgeous.

Reygadas has said in a director’s statement, “When we love someone, do we want her or his wellbeing above all else? Or only to the extent that such implicit act of generosity does not affect us too much? In short: Is love a relative matter?...

The Palm Springs International ShortFest, one of the largest events featuring short films, has announced the lineup for its 24th edition. The festival, running June 19-25, will showcase films including “Lira’s Forest,” directed by “American Crime” star Connor Jessup; “Careful How You Go,” starring Phoebe Waller-Bridge; Alfred Molina in “Sam Did It” and “The Passage,” directed by Kitao Sakurai and starring Phil Burgers.

More than 100 films featured at the festival have gone on to win Oscar nominations. Designated by AMPAS, BAFTA and Bifa as an award-qualifying festival, it will screen 329 short films from 62 countries. The Short Film Market runs concurrently and offers a library of more than 5,400 films to screen.

“We’re thrilled to be sharing this year’s lineup,” said ShortFest festival director Lili Rodriguez. “With an increase in submission numbers, we knew we’d have our work cut out for us, but the programming team has narrowed...

At the 2018 Sundance Film Festival, TV is invading the schedule in a whole new way. The Park City film fest has previously dabbled in what’s possible on the small screen, but this year marks the launch of the Indie Episodics section — which will spotlight TV pilots that mostly lack mainstream distribution.

The selections include “America to Me,” a new docu-series by “Hoop Dreams” director Steve James; as well as “The Mortified Guide,” a screen adaptation of the popular stage show “Mortified,” spotlighting the most embarrassing true stories of adolescence. There’s also “This Close,” showcasing star/creators Josh Feldman and Shoshannah Stern (both of whom are deaf), and “Franchesca,” featuring digital star and “The Nightly Show” writer/contributor Franchesca Ramsey.

This marks a major change for Sundance, and a renewed commitment to independent television. While Sundance has featured TV programming since the premiere of “Top of the Lake” in...