As a 20-year-old film critic, one of the things I always look out for, and do my best to thoughtfully report on, is how filmmakers represent modern teenage life. Having been in high school only a few years ago, the lack of authenticity in cinematic representations of adolescence is a constant annoyance to me, albeit one I understand. Those who have progressed enough in their careers to actually get movies made are far removed from their teenage years, and if youth is a subject they want to tackle, they will either have to craft a period piece specific to their personal memories and experiences – which can turn out spectacularly, as both Stephen Chbosky’s The Perks of Being a Wallflower and David Chase’s Not Fade Away, for instance, took spots on my 2012 top-ten list – or work in a contemporary setting and risk seeming completely out of touch. While issues of language,...