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The Kids Are All Right

The Kids Are All Right

Comedy · Drama · 2010

Two women, Nic and Jules, brought a son and daughter into the world through artificial insemination. When one of their children reaches age, both kids go behind their mothers' backs to meet with the donor. Life becomes so much more interesting when the father, two mothers and children start to become attached to each other.

Movie details

The Kids Are All Right

“Nic and Jules had the perfect family, until they met the man who made it all possible.”

2010 Comedy · Drama 1h 46m

Critical arithmetic

One number, for now.

TMDB

6.6 / 10

Community rating

Two women, Nic and Jules, brought a son and daughter into the world through artificial insemination. When one of their children reaches age, both kids go behind their mothers' backs to meet with the donor. Life becomes so much more interesting when the father, two mothers and children start to become attached to each other.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over The Kids Are All Right?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Band Aid

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Names above the title

The people responsible.

Directed by

Lisa Cholodenko

Written by

Stuart Blumberg · Lisa Cholodenko

Julianne Moore

Julianne Moore

Jules

Annette Bening

Annette Bening

Nic

Mark Ruffalo

Mark Ruffalo

Paul

Mia Wasikowska

Mia Wasikowska

Joni

Josh Hutcherson

Josh Hutcherson

Laser

Yaya DaCosta

Yaya DaCosta

Tanya

Kunal Sharma

Kunal Sharma

Jai

Court is in session

Put The Kids Are All Right on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Sentimental Softie

“Sincerity is not manipulation.”

The film risks embarrassment to make emotion communal, and that openness is harder than fashionable detachment.

The prosecution The Cool Ironist

“The strings are showing.”

Every cue tells you exactly what to feel and when, leaving sentiment to do the work character should have done.