11 Movies Like 13 Going On 30 To Watch Next

"13 Going on 30" is a beloved 2000s romcom that follows Jenna (Christa B. Allen), a 13-year-old girl who wakes up in the body of her 30-year-old self (Jennifer Garner) after an upsetting 13th birthday party. There are some things about it that don't hold up very well (seeing the older version of Jenna in a romantic storyline despite her inner self still being 13 makes for some uncomfortable viewing at times). However, there are also a lot of things about this movie that continue to resonate with audiences decades later, like the desperate frustration that comes with being a pre-teen and the sobering realization that things don't get any easier when you grow up.

"13 Going on 30" is about embracing authenticity and choosing to find joy in life, regardless of status. It's about personal progression and the fact that our younger selves are always a part of who we are. There are no movies exactly like "13 Going on 30," but there are plenty of wonderful films that explore the same themes and evoke the same feelings. There are movies about youth and growing old, about friendship and regrets. There are movies that provide a window into the coming-of-age experiences of young women and movies about unexpected love connections with old friends.

If you loved "13 Going on 30," here are 11 heart-warming films with the same vibes that you should check out.

The modern YA classic "Are You There God? It's Me, Margaret" isn't a romantic comedy, but it is a coming-of-age movie about a girl trying to navigate the social complexities of middle school and the many hurdles that come with puberty. Margaret (Abby Ryder Fortson) is adopted into a popular friend-group when she moves to the suburbs with her parents, but still struggles with the cruelty of other kids her age, especially that of her friend Nancy Wheeler (Elle Graham). Part of what resonates so beautifully about this film is its exploration of the generational experience of women in one family. Margaret's mother (Rachel McAdams) is just as disoriented by the suburbs as her daughter is, and she's still aching from the rejection of her own parents. Margaret's grandmother (Kathy Bates) is dealing with the reality of getting older and the new distance between herself and her child (Margaret's father) and grandchild. "Are You There God? It's Me, Margaret" doesn't shy away from the often unaddressed pain and confusion that comes with each phase of womanhood.

Another film from Kelly Fremon Craig (who also directed "Are You There God? It's Me, Margaret"), "The Edge of Seventeen" is a sharp, honest, ultimately hopeful take on growing up as a teen after experiencing great loss. Nadine (Hailee Steinfeld), who has recently lost her father, finds out that her best friend Krista (Haley Lu Richardson) is dating her older brother, Darian (Blake Jenner). Nadine is devastated to find out that the only person in her life whom she really trusted and relied upon for emotional support has become involved with her older brother despite the fact that Nadine and Darian do not have a good sibling relationship. 

"The Edge of Seventeen" is unlike "13 Going on 30" in a number of ways. It's not a film that embraces a girly, bubbly aesthetic, and even though both movies do a good job of capturing the acute pain that can come from fights and partings with friends and peers, "The Edge of Seventeen" is a far more melancholy story. But both films are about a young woman trying to work through her issues with minimal outside support, and both films depict what is ultimately a successful period of growth for someone trying to figure out who they are. As such, fans of "13 Going on 30" are bound to enjoy it.

Now this is a movie with a girly, bubbly aesthetic! "Legally Blonde" is not very similar to "13 Going on 30" plot-wise, but it is just as much a joyous celebration of unabashed femininity — more so, in fact. The film follows college senior Elle Woods (Reese Witherspoon) who, after being dumped by her pompously-named boyfriend Warner Huntington III (Matthew Davis), decides to attend Harvard Law School in order to see him again and win him back. It's really difficult to get into Harvard Law School, despite Elle's retort when Warner finds out she gained entry ("What, like it's hard?"), and even though she initially does it to win back a mediocre boyfriend, Elle ultimately takes advantage of the opportunity and finds greater purpose and fulfillment through her studies. Whether it's your taste or not, you can't deny that Elle's wardrobe in the film is phenomenal, and it's aligned with that of Jenna's in "13 Going on 30." Both films have a fun dance number and lots of innocently-earned success for their protagonists, and both are an absolute joy to watch.

The 2003 version of "Freaky Friday" is actually a remake of a 1976 film of the same name, but the remake's vibes are far more in line with those of "13 Going on 30," which is hardly surprising considering it was released around the same time. There's an inherent silliness to "Freaky Friday" that can be found in "13 Going on 30," and that silliness is rooted in the fantastical premise of one person's consciousness inhabiting the body of another. In the case of "Freaky Friday," it's actually a mother (Jamie Lee Curtis) and daughter (Lindsay Lohan) who switch bodies thanks to a meddlesome fortune cookie, but the general idea of a body swap remains the same. Like Jennifer Garner, Jamie Lee Curtis and Lindsay Lohan are both unafraid to embrace the insecurities of their characters, and this makes them both relatable as individuals and relatable as a mother and daughter. It's a beloved classic for a lot of people who are now in their 20s and 30s, and one that younger viewers will no doubt love today. And, seeing as there's a "Freaky Friday" sequel on the way with Lohan and Curtis reprising their roles, there's never been a better time to check it out.

Imagine if Jenna, the protagonist of "13 Going on 30," hadn't made a wish to be "30 and flirty and thriving" and remained an eighth grade-aged teenager. Then change the setting to a contemporary one, and you'd have a film that looks a lot like "Eighth Grade." Bo Burnham's directorial debut follows a girl named Kayla (Elsie Fisher) at the end of her school year. Despite the fact that she makes motivational vlogs, Kayla struggles to be socially successful in school and suffers from deeply internalized anxiety. This film is like if someone took all of the cringiest moments of "13 Going on 30" and multiplied them to the point where nearly the entire movie is just a catalyst to stir up the audience's second-hand embarrassment and to bring back painful middle school memories. "Eighth Grade" hones in on the timeless struggles that most people go through in middle school, as well as what it means to be growing up in the digital age. 

When you're a kid, having good friends is almost like a superpower. Your besties are like teammates, and they often feel like family. Netflix's "Always Be My Maybe" is a love story that begins with its leads, Sasha (Ali Wong) and Marcus (Randall Park), becoming best friends as kids. Just like Jenna and Matt from "13 Going on 30," Sasha and Marcus lose touch for a long time as young adults. They're reunited not by Sasha's 13-year-old consciousness, but rather because Sasha returns home to San Francisco for the opening of her new restaurant. 

Wong and Park have an onscreen chemistry that is certainly reminiscent of the dynamic between Jennifer Garner and Mark Ruffalo in "13 Going on 30." Like Ruffalo's Matt, Park's Marcus is struggling to find success as an adult, whereas their counterparts, Jenna and Sasha, have both become seemingly successful. Jenna and Sasha aren't as successful as they appear to be, though, largely because they've ignored their authentic selves in favor of who they want to be. There's nothing like a sarcastic, glowed-up best friend to bring a person to their senses.

Sixteen years before "13 Going on 30" hit cineplexes, director Penny Marshall brought a different story about a kid who wakes up in the body of their adult self to the big screen. Starring Tom Hanks, "Big" follows a 13-year-old boy named Josh who, after an embarrassing moment where he is turned away from a carnival ride due to his height, uses a fortune-teller machine called Zoltar Speaks to make a wish, asking to become "big." It turns out that the Zoltar machine is actually something like a real-life genie, because the next morning Josh wakes up as a fully grown adult.

Josh is forced to live out several weeks as his adult self thanks to the migratory nature of the carnival with which the Zoltar machine travels, and, like Jenna from "13 Going on 30," Josh's childlike exuberance and fresh ideas help him excel professionally. Josh is promoted from data entry clerk to Vice President of Product Development at FAO Schwarz and attracts the ire of a workplace rival (John Heard), as well as the romantic interest of a co-worker named Susan (Elizabeth Perkins). However (not unlike "13 Going on 30"), the romance aspect is questionable — it depicts a fair bit of intimacy between Josh and Susan, which makes for some uncomfortable viewing.

Aubrey Plaza looks almost nothing like an older version of Maisy Stella (best known for her role as country music singer Daphne Conrad in "Nashville"), but, given her ever-evolving acting chops, it's understandable that she was cast as the older version of Elliot LaBrant (Stella) in "My Old Ass." The film follows Elliot as she lives out her last summer at home in Ontario before she leaves to attend university in Toronto. Elliot and her two best friends camp out to celebrate her eighteenth birthday and share a pot of tea made from psychedelic mushrooms. At first, Elliot believes that she is not reacting to the drugs when her friends freak out while she sits quietly by the fire, but later that night she encounters a woman who claims to be her future self.

Old Elliot (Plaza) manages to convince Young Elliot that she is actually her future self, but the two don't have much chance to talk before Young Elliot falls asleep. Luckily, Old Elliot is able to put her number into Young Elliot's phone. Two things that stick with Young Elliot are the older woman's reminder to cherish the time she has with her family before she heads to college and a warning to stay away from anyone named Chad. The film is sweet and lighthearted and will no doubt leave you feeling nostalgic for childhood, but it is the way in which Young Elliot grants perspective to her older self, and vice versa, that really sticks the movie's landing.

Yet another body alteration comedy rooted in magical realism, "17 Again" ticks a lot of boxes for fans of "13 Going on 30." However, this time, protagonist Mike (played by Zac Efron and late "Friends" star Matthew Perry) is an adult who ends up de-aged to his 17-year-old self, rather than a kid who is aged up to their adult self. Even though it often slips through the cracks when it comes to great coming-of-age movies, "17 Again" is Matthew Perry's best-rated film on Rotten Tomatoes and a very enjoyable watch. Zac Efron brings natural charisma to all of his roles and Thomas Lennon is particularly funny as Mike's adult best friend (who also poses as his father when Mike is de-aged and must attend high school). It's interesting to see an adult physically revert back to their teenage self and makes for an interesting contrast to the more naïve, optimistic protagonists of films like "13 Going on 30" and "Big."

"17 Again" follows Mike as he attends high school and realizes that his son, Alex (Sterling Knight), is being bullied, and his daughter, Maggie (Michelle Trachtenberg), is dating a disrespectful punk named Stan (Hunter Parrish). When Mike wakes up as a 17-year-old, he initially wishes to pursue the basketball scholarship he missed out on thanks to his high school girlfriend's (and current estranged wife, played by Leslie Mann) unplanned pregnancy. As time goes on, though, he realizes that he loves his family and wishes to repair the life he already has.

Andrea "Andy" Sachs (Anne Hathaway), the protagonist of "The Devil Wears Prada," initially sees her job at Runway Magazine as a stepping stone toward the kind of journalism she's always dreamed of doing. Her boss, Miranda Priestly (Meryl Streep), is an absolute nightmare, and Andy falls into a back-and-forth with her that ultimately causes Andy to lose sight of her goals. After falling out with the people from her life pre-Runway, Andy is forced to confront the gilded nonsense of the fashion industry and its ugly underbelly. When she sees how ruthlessly Miranda has sacrificed her personal life in favor of her career, only to become a bitter magazine editor clinging to relevance, Andy walks away from Runway and gets her life back on track. 

If your favorite thing about "13 Going on 30" is Jenna's job at a fashion magazine and the many fabulous costumes that can be seen throughout the film, you will find yourself absorbed by Andy's story. The ending of "The Devil Wears Prada" is somewhat ambiguous when compared to "13 Going on 30," and it has a much more cynical take on adulthood, but that one montage of Andy walking in a bunch of different outfits is iconic and fabulous. The high fashion vibes baked into "The Devil Wears Prada" will certainly go down well with fans of "13 Going on 30," especially those who are looking for something a bit more mature.

There is very little comedy in "Pretty in Pink." One huge theme in the film is the wealth disparity between rich kids and poor kids and their corresponding high school experiences. The difference in economic backgrounds is the biggest obstacle for the movie's working-class protagonist, Andie Walsh (Molly Ringwald), and her love interest, Blane McDonnagh (Andrew McCarthy). "13 Going on 30" is a comedy and does not provide commentary on the privilege gap that exists between the rich and poor. There are a lot of ways that these two films are not alike, but the thread that runs through both of them is the central friendship between the protagonist and their male best friend.

Jenna from "13 Going on 30" has Matt, and the two of them have an ending that is ultimately happy and based on mutual respect and romantic love. Andie from "Pretty in Pink" has Duckie (Jon Cryer), who is head-over-heels in love with her despite their close, platonic relationship. Duckie will unfortunately not grow up to be a sexy Greenwich Village photographer played by Mark Ruffalo, though, and, unlike Matt, does not end up with the girl. However, the unconditional love that Duckie feels for Andie feels exactly like the kind of emotion that inspired Matt to make such a beautiful birthday gift for Jenna in "13 Going on 30."

"Pretty in Pink" is considered to be one of the essential Brat Pack films, which came to define '80s cinema and starred the same batch of young actors. Here's what the Brat Pack looks like today.