The MPAA rating system divides viewers into three broad age ranges: 0-13 years, 13-17 years and over 17. In light of social science research on the effects of medial portrayals on young viewers, there are several problems with the current MPAA rating categories: Unfortunately, the MPAA's preoccupation with what is offensive to adults comes at the expense of what is arguably a more important question: What types of portrayals are really harmful to children? But it is also clear that the rating system's main purpose is defusing public criticism and protecting the film industry from government intervention. Informing parents is important to the MPAA. The MPAA Ratings Board examines each individual film in terms of theme, language, nudity, sex, drug use and violence. Unsubmitted films - usually international productions and some independent efforts - are usually reviewed and advertised as unrated and may be harder to market.
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Its membership is not intentionally selected to include educators, childhood development experts or others with special training in the effects of media on children.įilms are submitted violuntarily by studios and producers that pay a fee for the service. The ratings are established by a board of seven Los Angeles area parents - real mothers and fathers - whose fulltime paid job is to review films. Jack Valenti, MPAA president, has noted that the MPAA is concerned with finding out what "most American parents will think about film content."
#Movie reviews for kids to look at movie#
In fact, analysis of the Motion Picture Association of America (MPAA) film ratings system - the familiar G, GP, R and N-17 that appear in ads and movie reviews - demonstrates that it is based on several faulty assumptions about children's responses to violence in media.Īs a system of self regulation by the motion picture industry, the MPAA rating program was designed to measure parental reactions. This lack of understanding becomes a huge problem in crafting - or even evaluating - ratings systems designed to protect children from the effects of violence on movies and, increasingly, on television. But I suspect few of these complacent critics understand how a child really sees the violence in a movie like "Teenage Mutant Ninja Turtles" or a video game such as "Sonic the Hedgehog." Most adults find it difficult to remember their childhood reactions to media. Made by adults from an adult perspective, they dismiss and discredit the problem of media violence for children. If you follow the public debates over media violence, you may be familiar with arguments like these. "As long as I go to the movies with my kids, it's OK." "It's only a cartoon, everyone knows it's not real." "Everyone knows it's just entertainment." No one ever forgets this film is set in a realistic, if slightly off, time and place."I saw plenty of media violence when I was a child and it didn't hurt me." Everything about their performances are grounded so that when there are moments of wonder, they pop off the screen. Maybe they're a tad hyper realistic, but never enough to stand out or be distracting. What these actors all have in common is that, in this little family movie, they could have gone crazy with their roles. On top of that already stellar cast, Nicole Kidman plays the film's villain, an evil taxidermist with her heart set on a new addition to her collection.
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Their housekeeper is Julie Walters, the neighbor is Peter Capaldi, and their shopkeeper friend is Jim Broadbent.
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The Browns, Paddington's would-be family, are lead by Broadbent and Hawkins, as previously mentioned. His parents are voiced, in nothing more than a cameo, by Michael Gambon and Imelda Staunton. He's very prim, proper and lovable, even without showing his face. We've already mentioned Ben Whishaw as Paddington. The character works even better because King has surrounded the bear with an absolutely amazing cast.