A couple, Nic and Jules, live with their teenage children, Joni and Laser, in a cozy craftsman bungalow in Los Angeles. As Joni prepares for college, her younger brother pesters her for a big favor — help him find their biological father. Against her better judgment, she makes a call to the sperm bank; the bank, in turn, calls Paul and asks him if he’s willing to meet his daughter. He agrees, and a complicated new chapter begins for the family.
Director Lisa Cholodenko returns to Sundance (Laurel Canyon played at the 2003 Festival, and High Art won the Waldo Salt Screenwriting Award at the 1998 Festival) with this vibrant, astute, and richly drawn portrait of a modern family. Once again, Cholodenko demonstrates her uncanny ability to reach beneath the gloss of Southern California to illuminate the emotional and transformative power of human vulnerability and, in doing so, establishes herself as one of America’s most formidable auteurs. —Sundance Film Festival
A Los Angeles native who preferred European art cinema to Hollywood studio fare, writer-director Lisa Cholodenko made her mark on the independent film scene with her moody examination of sexuality, ambition, and heroin chic in High Art (1998).
Raised in the San Fernando Valley, Cholodenko had no thoughts of becoming a filmmaker when she headed to college at San Francisco State. She had changed her mind, however, by her mid-twenties. After working as an assistant editor on Boyz ‘N the Hood (1991) and Used People (1992), Cholodenko enrolled in Columbia University’s graduate film program in 1992. Mentored by Milos Forman, Cholodenko made two highly regarded short films, Souvenir and Dinner Party. After earning her M.F.A., Cholodenko served as an assistant editor on Gus Van Sant’s To Die For (1995) while working on the screenplay for her first feature, High Art.
Taking off from Cholodenko’s firsthand observations of the 1990s New York art world and her interest in such photographers… read more
The only two bits about this movie that I had to commend are the plot - I thought story line is very realistic, which is impressive - and Julianne Moore because, as always, she is fabulous. I feel the director tried too hard to bring up certain aspects of life in an unconventional family, which is why it didn't work as well as it should have. The movie altogether felt almost pointless.
Lisa Cholodenko's The Kids Are All Right, opening tomorrow, is not screening at this year's Outfest, the Los Angeles Gay and Lesbian Film
"The 2010 Los Angeles Film Festival (LAFF), which opens tonight with the LA premiere of Lisa Cholodenko's KCRW-crowd-pleasing gay-marriage
Mash-up by Screen Rant's Mike Eisenberg This is the weekend that the New York Times and the Los Angeles Times unload their
Among the films premiering at Sundance before heading to the Berlin in a couple of weeks are four dramatic narratives in the Berlinale Competition
What to say about The Kids Are All Right?
Some good moments, but couldn’t see any sophistication or humour. It’s a high concept movie wich only difference is to bring a lesbian couple as the apparently… read review
A leisurely and gentle film that knowingly twists the conventional family dramedy. Here’s a family unit (led by two lesbian moms, plus a sperm donor) that’s as non-traditional as you can get, and… read review
The good thing from The Kids Are All Right is, even though this movie tells the story of lesbian family, the values are universally applicable. From the most simple point view, this movie tries to… read review