Two new streaming family-friendly releases show that parenting – and being parented – can be intense.

On Netflix, The Adam Project stars Ryan Reynolds as fighter pilot Adam, Reed and Walker Scobell as Adam at age 12. In 2050, the older Adam steals his time jet and escapes through a wormhole, trying to go back to 2018. Instead he crash-lands in 2022, at the home of his younger self.

The younger Adam is a handful; a little kid with a big mouth, who is constantly bullied while also giving his recently-widowed mom Ellie (Jennifer Garner) a hard time. Adam’s dad Louis (Mark Ruffalo) was a quantum physicist working on – you guessed it – time travel, and successfully, as it turns out. But Louis was killed in a car accident, leaving his family to struggle on without him.

Big Adam needs to get back to when his dad was alive in order to stop him from creating time travel and all the havoc that ensued afterwards. After his death, Louis’s partner Maya Sorian (Catherine Keener, playing both the younger and older versions of the character) took the technology and went back in time herself to create a future where she rules pretty much everything, with an army of faceless droids as her enforcers.

Adult Adam is also grieving the loss of his wife Laura (Zoe Saldana), who disappeared on a mission, stranded in the past after trying to stop Sorian. When the Adams get cornered, she reappears and rescues them from Sorian’s army only to sacrifice herself so they can jump back to 2018 and convince Louis to scrap his project.

Young and old Adam team up to fight Sorian – and solve the bereaved Reed family’s fractured new reality. Big Adam encourages his younger self to cut his mom a break, but it’s younger Adam who reminds the adult version of him that his workaholic dad really was there for him, despite how he remembers it.

The time-travel adventure in The Adam Project is fun, if slight; Sorian’s motivation to rule the world really isn’t fleshed out, leaving her as a one-note villain. Instead, watch the movie for the acting: the stable of Marvel actors (Ruffalo, Reynolds, Saldana, and even Garner) play relatable characters with charm and heart. The core story is not saving the world, but saving the family, so don’t be surprised if you get a little misty watching it.

Another movie released this weekend to streaming is Pixar’s Turning Red on Disney+, which is only the second Pixar movie to be directed by a woman, Domee Shi, and the first with solely a female director. This movie explores growing up with a focus on the mother-daughter dynamic within a Chinese-Canadian family. Set back in the golden age of boy bands (2002), this is the story of Meilin (Mei) Lee (voice of Rosalie Chiang), a thirteen-year-old A+ student and obedient daughter to her overbearing mother Ming (Sandra Oh) and pushover dad Jin (Orion Lee).

Meilin’s friends Miriam (Ava Morse), Abby (Hyein Park) and Priya (Maitreyi Ramakrishnan) encourage Mei to have more fun, but Ming’s hold on Mei is complete, and Mei passes on all after-school hijinks to get home to the temple where her family lives and works immediately after school.

Secretly, though, Mei is as boy-crazy, or more accurately, boy band-crazy as her peers; she’s obsessed with the dreamy yet non-threatening band 4*Town while also mooning over Devon, the teenage clerk at a convenience store near school.

When Ming misinterprets some drawings in Mei’s journal and causes a tremendously cringe-worthy scene that humiliates Mei in front of Devon and Tyler, the school pest who constantly bullies Mei at school, Mei wigs out. Literally.

Mei wakes up the next day to find that she has transformed into a large red panda, which is the symbolic animal of the temple the family maintains. That fact doesn’t help Mei, who is terrified and then subsequently mortified to discover her mom assumes that her daughter is hiding in the bathroom because she has started her period.

Mei transforms back into herself, though now with red hair, and goes to school where she is further embarrassed by Ming at school, where Ming causes another disastrous scene with a box of pads in front of Mei’s whole class, Mei again becomes a panda, learning that she transforms into a furry version of herself when she can’t control her emotional response to stress.

It’s hard to hide from everyone when you are a red panda roughly the size of Bigfoot, and eventually Mei’s friends and family figure out her secret. Mei’s friends are delighted with their new fuzzy friend, but Mei’s parents are unsurprised. They tell Mei that explain that every female member of their family has been granted with the transformation to a red panda because of their ancestor, who used a spell to save their village but cursed the female descendents of the family to panda-monium at puberty.

On the upside, the spell can be broken, or at least contained, with a ritual performed by her living relatives the night of the next Red Moon. (The allusions to menstruation in the movie are subtle but persistent.) Unfortunately, Mei and her friends were planning to sneak off to a 4*Town concert that night.

Turning Red does a great job of presenting the difficulty teens feel dividing their loyalty between friends and family, along with the overwhelming – and new emotions – surging through them as they enter puberty, all with an endearing animal transformation allegory. The movie also offers a balanced view by showing the challenges of parenting, as Mei’s mother and father struggle to understand that their daughter is her own person even as they try to keep her safe from the consequences of her own actions.

Both movies are suitable for families to watch with teens and older children; approaching the parent-child dynamic with a light, non-preachy touch. Both have excellent soundtracks: The Adam Project has hits from 70s and 80s artists like Cyndi Lauper and Pete Townshend while Turning Red features snappy and original boy band-style numbers composed by Billie Eilish and her songwriter brother, Finneas O’Connell, who also is one of the performers.

There is no surcharge for Turning Red on Disney+; the movie had been scheduled for a theatrical release but was relegated to streaming due to the ongoing pandemic.