James Absolon explains how this Pope-themed film, despite its risky premise, works
Alex Pollard reviews Hollywood's biopic of the controversial Margaret Thatcher
Sitting all too alone in an unfairly empty cinema screen, watching a film about the trials of family life for a middle-aged, lesbian couple, it seemed like the wrong time to get a lump in my throat. However, such is the quality of the performances in Lisa Cholodenko’s The Kids Are All Right, it’s easy to be engrossed by the lives of the characters and moved by their struggle to stick together.
The film tells the story of Nic (Annette Bening) and Jules (Julianne Moore), a gay couple who have been happily married for almost twenty years. Through the wonders of artificial insemination they have two children: straight-A student Joni (Mia Wasikowska), who has just turned 18 and is soon to leave for college; and their hiply named, 15-year-old son Laser (Josh Hutcherson). It is Joni’s impending departure that prompts Laser to persuade his sister to arrange a meeting with their sperm-donor-Dad.
We learn that their biological father is Paul (played by the excellent Mark Ruffalo), a laid-back and free-spirited individual who has his own business selling local produce. Despite a brilliantly awkward first meeting, in which Paul, eager to impress his children, declares (a bit too eagerly) how he “loves lesbians”, they all get on well enough to agree to meet again. However, in spite of Paul’s permanent smile and easy charm, his introduction to the family almost leads to its undoing.
Whilst Paul has quite a destructive influence in the film, he is by no means the villain of the piece. Paul is played effortlessly by Mark Ruffalo, who oozes charm and charisma whilst also ensuring that he brings real heart to what could have been a self-satisfied character, allowing for the audience to still sympathise with him. In fact the whole cast are excellent, and you can see why there is already suggestion that any one of the film’s adults may be recognised at the Oscars. That’s not to say that the children are weak, only that their characters are less developed than their elders.
Whilst Bening and Moore are utterly believable as Nic and Jules, with a genuine sense of warmth between them, of the two of them, my money would be on Bening come awards season. Bening’s performance is perfectly subtle, with the slightest movement of her face or look in her eye conveying the hurt that her outer showing of strength is masking. It is her vulnerability, even as the family’s provider and protector, that is so moving.
Overall, The Kids are All Right is a funny and touching film, full of love and hurt in equal measure. Whilst the cast are undoubtedly the heart of the film, it is Cholodenko’s script which allows them to give such performances. Moments of sharp humour are interspersed with moments of real poignancy as Nic and Jules live the highs and lows of married life and Cholodenko shows that while the kids may be all right, there’s hope for the adults yet.
Head to City Screen to see The Kids are All Right. Click here for times and further details.
You must log in to submit a comment.
