The Kids Are All Right (2010)

The critic highlights the warm, wise humour that distinguishes the film, along with its convincing and affecting portrait of modern American family life. It singles out the relatable dynamics of the two mothers and their children as they navigate the arrival of the sperm donor.

The critic describes the film as witty, urbane and thoroughly entertaining, an ode to family virtues in an unconventional household, singling out the peerless performances of Annette Bening, Julianne Moore and Mark Ruffalo along with Cholodenko's lyrical direction and adventurous script.

The critic calls the film a consistently amusing delight that cleverly peppers laughs into its examination of the modern family while making the case for accepting gay couples with children. It singles out the expertly constructed one-liners and the realistic, natural rapport among the cast.

The film is a sparkling, easygoing comedy of emotional difficulty and a witty portrait of postmodern family life. Cholodenko and her cast carry off the complex juggling act of family disruption with sensitivity, wit and warmth.

The critic calls the film wonderful and praises its portrait of a liberal middle-class lesbian couple (Annette Bening and Julianne Moore) whose domestic routines and complacency are gently mocked and empathetically observed as their children introduce their sperm donor into the family.

The critic praises the film as a witty, warm exploration of family life, highlighting its keenly observed portrait of a marriage tested by change and its blend of humor and heart in depicting relatable adult characters.

The critic finds the film intelligent, sharp and extremely funny, with a cracking cast and healthy Sundance buzz. It singles out the fresh take on family-centric comedy and the shining performances from Annette Bening and Julianne Moore in a sincere, well-observed portrait of domestic life.

The critic praises Lisa Cholodenko’s film for examining the complications of alternative families with a rare mixture of wit, intelligence, laidback naturalism and sexual frankness. It singles out the naturalism of the performances and scenes, along with the way the story balances family togetherness and individual freedom.

The film is a conventional romantic comedy about a long-term lesbian couple and their mid-life parenting issues that is respectably entertaining but not exceptional. It singles out the strong performances from Moore, Bening, Ruffalo, and Wasikowska along with Cholodenko’s polished direction for praise.

The critic highlights the film's honest tension between adventure and repose in Lisa Cholodenko's direction, commending the strong performances especially from Annette Bening and Mark Ruffalo, while noting some overly self-conscious liberal prattle and a shift to moralizing in the climax.

The critic views the film as a thoughtful response to family dilemmas but ultimately sees it as wish-fulfilment that is no more honest than lesser comedies about the conflicts it portrays.

The film is a poignant, true-to-life character drama about the difficulties of marriage and family life that surprises with its humour and charm. The critic singles out the hugely convincing performances from Moore and Bening as the long-married couple for particular praise.

The film is a fantastic, charming portrait of family relationships and human struggles that overcomes any obstacles through love. The critic singles out the pitch-perfect performances from Moore and Bening as the lesbian couple and Cholodenko's superb direction and balanced screenplay.

The critic praises the film's honest portrayal of a long-term marriage and family life, highlighting Annette Bening's standout performance as particularly ferocious, funny, and moving. She singles out the realistic depiction of domestic conflicts and relationships as a welcome departure from typical Hollywood fare.

The critic finds the film funny and warm, noting that it focuses on love and forgiveness as what defines family rather than getting bogged down in politics. A few narrative hiccups are mentioned but do not detract from the overall positive take on the story's heartfelt family dynamics.

The critic notes plenty of laughs from the New Age parenting approach alongside sophistication from the cast, but observes that building tension does not fully deliver a gutsy finale; still finds the film consistently heartfelt.

The critic finds the film worthy of its awards buzz as the best of its indie dramedy type but notes that its foibles and overly safe handling of the subject matter bring it down; praises the stellar performances by Annette Bening and Julianne Moore above all.

The critic calls it a fitting queer comedy-drama with its heart in the right place that offers a fresh, authentic feel through colourful photography and excellent performances; notes it is well-written and deferential on same-sex parenting but by no means groundbreaking.