Lisa Cholodenko’s The Kids Are All Right is such a low-key feat of filmmaking that the scope of its offhanded generosity — toward its characters, its story, its actors and its audience — may not hit you until days after you’ve seen it. The movie finds its greatness in the margins, in the way one character might fumble through a particularly astute yet painful observation, or the way another muses aloud about how much a sperm bank paid him for the very stuff of human life. This is a comedy about what might be considered an alternative family, if only its members didn’t suffer so acutely from the same doubts, temptations, insecurities and longings that people in nearly all families do. The Kids Are All Right is more universal than it is alternative, except in one sense: There’s nothing else on the contemporary movie landscape like it.
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REVIEW: Brilliant Kids Are All Right Brims with Grace, Smarts and Laughs
