The Kids Are All Right

Writer-director Cholodenko’s best-known films, Laurel Canyon (2002) and High Art (1998), feature women front and centre, and whilst this film is about a couple who happen to be gay, although it makes for some interesting twists, that is not the critical focus of the story . What is central to the relationship is that it is a long term one and heading into dangerous territory – that of boredom, battles for control and kids acquiring independence. It is a scenario many will recognise, whether straight or gay, and herein lies the film’s clever ability to touch all audiences. Many of the problems between Nic and Jules will be familiar to any married couple. Nic is a doctor, a workaholic who lets work distractions come between her and her partner’s intimate moments. Jules is at a crossroad, unsure of what do with herself and feeling that she has been forced into the role of homekeeper by her work-obsessed partner. Nic is also a strict disciplinarian while Jules is more laidback. Paul strikes the kids as a breath of fresh air especially after Nic’s rules, and it is of course predictable that his attempts to give advice, or to do adventurous things with the kids, will lead to tensions with the “Moms”. But it is the situation that develops between Paul and Jules that will bring the most tension into this otherwise normally functioning household.

This film walks a wonderful line between drama and comedy with superb characterisations, a touching, witty and truthful script and top notch acting from the three adult leads, with the kids coming close on their heels. The emotional spectrum that Bening covers is inspiring, from controlling head of the family, to stressed-out and hurt near-alcoholic, desperate to save her marriage. Moore, who is one of today’s most versatile actresses adds yet another unforgettable character to her catalogue. Ruffalo is almost the best I’ve ever seen him, bringing a delicious insouciance, mischievousness and sexiness to his Paul. Wasikowska as Joni has certainly shown she is far better than suggested by her appearance in Alice In Wonderland, while young Hutcherson is strong as the brother.

I found myself really liking all these characters despite their weaknesses and foibles. They are all real people and to Cholodenko’s credit, she doesn’t demonise anyone (well, maybe Paul a little). We are left feeling there is no falseness about the film’s resolution and yet we can still extrapolate as to what may (or what we may wish) will happen after the film has ended.  There is plenty of humour, and one absolutely memorable scene of singing at the dining table (a delight for Joni Mitchell fans!). Despite the film’s humour it deals with real-life, often heart-breaking, issues and does so in a truly engaging and endearing way that sees family defined in a justly complex way.

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