It’s taken 53 years for trailblazing Judy Blume’s beloved, life-changing novel – “Are You There God? It’s Me, Margaret” – to make it to the big screen but writer/director Kelly Fremon Craig’s delightful adaptation is well worth the wait.

Set in 1970, the story revolves around pre-teen Margaret Simon (Abby Ryder Fortson) whose family moves from Manhattan to suburban New Jersey just as she’s navigating that tenuous time between childhood and adolescence.

Sweet, guileless Margaret is quickly befriended by bossy Nancy (Elle Graham), an outspoken neighbor, and her sixth-grade chums who are acutely aware of the coming physical changes in their bodies. They’re obsessed with their budding breasts and the onset of menstruation, along with their growing interest in boys.

Plus, Margaret has become curious about her cultural identity. While her father (Benny Safdie) and adored grandmother (Kathy Bates) are Jewish, her mother (Rachel McAdams) is a lapsed Christian whose devout Midwestern parents (Gary Houston & Fairfield’s own Mia Dillon) disowned her when she married out of their faith. 

As a result, Margaret doesn’t identify with any religion, despite yearning to ‘belong’ somewhere. During her angst-filled struggles with spirituality, she holds her own private conversations with God. Eventually, her confusion results in a crisis, triggering an unexpected, wretchedly uncomfortable family reunion. 

Superbly cast and saturated with whimsical warmth and poignant, lighthearted humor, it’s all about the timeless complexity of puberty, a relevant subject that still evokes conjecture as school districts around the country make new attempts at censorship.

Legendary, truth-telling author Judy Blume summed up my reaction, noting: “No one who likes the book will be disappointed. It’s so much more than the book.”

On the Granger Gauge of 1 to 10, “Are You There God? It’s Me, Margaret” is an endearing, empathetic 8, a coming-of-age classic that’s playing in theaters.

It’s often been said that while we are free to make our own choices, we can’t choose the consequences that accompany them. 

“Armageddon Time” is all about making those life-altering decisions. Released at the end of last year with little fanfare, James Gray’s melancholy, semi-autobiographical, coming-of-age drama is definitely worth another look.

Set in 1980 in Queens, New York, it revolves around sensitive 11 year-old Paul Graff (Banks Repeta), an aspiring artist whose best friend, Johnny (Jaylin Webb), is Black.

In their sixth-grade class at PS 173, they’re known as the troublemakers but wide-eyed Paul realizes that, while his behavior is often excused, poor Johnny, who lives with his ailing grandmother, is invariably punished more severely.

Paul comes from a working-class Russian/Jewish family. While his parents – Esther and Irving (Anne Hathaway, Jeremy Strong) – insist that they’re open-minded liberals, they insist on transferring defiant Paul to an elite private school in Forest Hills after concluding that Johnny has become a bad influence on him. 

But Paul’s aging grandfather Aaron (Anthony Hopkins) influences him the most, emphasizing the importance of speaking up against bigotry – urging him to “be a mensch” – and pointing out the agonizing regret that results from not doing what’s ‘right’ when it matters most. 

Drawing on his own memories, writer/director James Gray draws a poignant portrait of a time and place. His casting choices are superb; the acting ensemble embodies the bittersweet humor, pathos and paradoxes of each of their characters with remarkable authenticity, particularly during the family meal scenes.

Striking a surprisingly contemporary chord, Fred Trump (John Diehl) is one of the school’s primary benefactors, and it’s Maryanne Trump (Jessica Chastain) who delivers an impassioned speech at an assembly, emphasizing the work ethic rhetoric that epitomized the conservative Reagan era.

On the Granger Gauge, “Armageddon Time” is a compassionately disillusioning, soulful 7. You can rent it on Prime Video & Apple TV+ or stream free on Peacock.

For many years, Nicolas Cage refused to play Dracula, turning down major studio films but – now – he’s the legendary, bloodthirsty Count in “Renfield.”

He doesn’t star in this thriller/horror comedy. Instead, the grisly story revolves around Robert Montague Renfield (Nicholas Hoult), Count Dracula’s long-suffering servant – a.k.a. “familiar” – whose job is to bring the infamous Transylvanian vampire fresh victims while he keeps up his super-strength by eating insects.

Renfield first appears at a church group therapy session in present-day New Orleans. Coaxed by the support group’s leader (Brandon Scott Jones), he confesses, “I am in a destructive relationship.”

That’s followed by clips of Ted Browning’s black-and-white, 1931 iconic “Dracula,” starring Dwight Frye and Bela Lugosi, with Hoult and Cage recreating their respective roles.

As he builds up confidence to break away from his dysfunctional co-dependence, mumbling Renfield falls in love with vengeance-seeking Police Officer Rebecca Quincy (Awkwafina), who is determined to bring down the matriarchal Lobo crime family, bossed by Bellafrancesca (Shohreh Aghdashloo), whose tattooed ‘enforcer’ son is dubbed ‘Tedward’ (Ben Schwartz).

Convolutedly scripted by Ryan Ridley from an original idea by Robert Kirkman (creator of “The Walking Dead”), it’s directed with a plethora of gruesome, graphic dismemberment by Chris McKay (“The Tomorrow War”). 

Not surprisingly, since he produced and edited “Shadow of the Vampire” (2000) about Max Schreck who starred in Murnau’s classic 1922 “Nosferatu,” wild-eyed Cage delivers an over-the-top, campy performance.  But the R-rated result is abysmal.

FYI: In 1988’s low-budget “Vampire’s Kiss,” Cage was a New York literary agent who thought he was a vampire; this is the first time he’s played the real deal.

On the Granger Gauge, “Renfield” is an ultra-violent, frightful 4, playing in theaters.