-By Sarah Sluis

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Watching Ramona and Beezus is like reading a comforting bedtime story to a child. Which makes sense, given that the movie is based on the classic and beloved “Ramona” series authored by Beverly Cleary. This is a movie both family-centered and family-friendly, with not one objectionable moment in sight—but it’s no “Leave it to Beaver.” Instead of condescending to its audience with a perfect, treacly family, Ramona and Beezus offers us a humble, misfit heroine, and centers on “kid stuff”: issues important to nine-year-old Ramona Quimby (Joey King). A recession-era plotline anchors the movie: the unemployment of the girls’ dad, played by John Corbett.

Independent and spirited, Ramona prefers made-up words like “terrifical” to proper spelling. She imagines canyons below her as she hangs from playground equipment, brought to life using visual effects that bring to mind a child’s drawing. Because Ramona acts based on her childlike whims and perceptions, she often finds herself in trouble, despite her constant struggles to be more “mature” and fit in.

Many children’s stories trade on the idea that children secretly understand the world better than adults, but Ramona and Beezus does not bow to such wish fulfillment. It’s clear that Ramona’s still figuring things out, and she’s a misfit in the world of her peers and adults, including her older sister Beezus (Selena Gomez). To us, however, she’s goofy and lovable, and seeing the characters in the story react negatively to Ramona only makes us root for her even more.

Cobbled together from Cleary’s books, the story moves from one life experience to the next. There’s the drama of show-and-tell, and who hasn’t been (or seen) the kid who throws up at school? The family also deals with the death of a pet, a house for sale, and the jealousy of seeing an aunt (Ginnifer Goodwin) embark on a romance. Ramona suffers embarrassments like trying to crack a hard-boiled egg on top of her head like her dad, only he gave her a raw egg and it’s school picture day. Screenwriters Laurie Craig and Nick Pusta draw some plotlines across several scenes, giving just enough structure to this ambling, slice-of-life tale.

As in many movies of this type, the Quimby home suffers from Better Homes & Gardens syndrome, and looks a little too nice for the family’s budget. The clothes so perfectly characterize the wearers’ personalities, it’s hard to believe this supposedly middle-class family survives on hand-me-downs. Props significant to the plot, like a cheap-looking jar of Royal peanut butter, seem out of sync with the organic spices the set designer selected for the family’s cupboard. Arguably, the lack of realism is balanced, even outweighed, by the pleasure of gazing at such meticulously perfect interior design. Children in particular will envy Ramona’s and Beezus’ bedrooms, which are renovated halfway through the film into colorful sanctuaries.

Ramona and Beezus benefits from the deft, balanced direction of Elizabeth Allen ( Aquamarine). Given Ramona’s many missteps, it’s a relief that Allen avoids cheesy, painful recitations of life lessons, and lets no one ham it up. Under a different director, with slightly changed inflections from the actors, the movie could have become a burden to watch. Instead, Ramona and Beezus glows from its bright, sunny approach. Even when Ramona feels herself in dire straits, it’s no worse than watching a kid whose eyes widen at the scary part before the happy ending. The feelings engendered by the movie can’t be described as poignant or instructive; instead, you’re left with something more experiential and optimistic. For the parents and daughters who catch the movie, it’s a chance to bond over seeing bits of their life reflected onscreen.