The Kids Are All Right (2010)

R | 106 mins | Drama | 2010

THIS TITLE IS OUTSIDE THE AFI CATALOG OF FEATURE FILMS (1893-1993)
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HISTORY

The Kids Are All Right was named as one of AFI's Movies of the Year.

The Opening credits read:

       Focus Features and Gilbert Films present

       In association with
       Saint Aire Productions
       Artist International
       10th Hole Production

       An
       Antidote Films
       Mandalay Vision
       and
       Gilbert Films
       Production

Acknowledgments in the end credits include: Scrabble used by permission of Mattel, Inc./Scrabble appears courtesy of Mattel, Inc.; Footage from Monsters Telecast, FOX Sports provided courtesy of AHL; Footage from "The Best of Colt 3 & 4" and "5 & 6" provided courtesy of COLT Studio Group; Footage from "Locked Up Abroad: Uganda" provided courtesy of National Geographic Channel; Television audio clip provided courtesy of Television Food Network, G.P.; Radio show audio clip provided courtesy of KCRW. The end credits also give "Special Thanks" to: Bill Johnson, Jim Seibel, Partizan Entertainment, Kevin Huvane, Tony Lipp, Evelyn O'Neill, Stephen Halls, Gaby Morgerman, Robert Stein, Stephanie Ritz, Carter Cohn, Bart Walker, Jeffrey Levy-Hinte, John Sloss, Pamela Pickering, Jamie Kapel, Ira Resnick, Milton Radutzky, Richard Radutzky, Emilio Mauro, Carter Reedy, Craig Wedren, Nathan Larson, Free City, Michael Hausman, Scott Ferguson, April Janow, Joshua Zerman, Irwin Rappaport, Jennifer Hoopes, Catherine Shao, David Paul Wichert, Rori Bergman, Robert Ziembicki, Caryn Marcus, Warner Ebbink, Little Dom's, Jane Guzman/Los Angeles City Parks, Frank Harris and the gardeners at Ocean View Community Gardens, The staff of Penmar Park and Recreation Center, and The prop houses of Los Angeles.
       According to production notes in AMPAS files, the film was several years in gestation, with actress Julia Moore first attaching herself to the project in 2005 when a production deal seemed imminent. According to a 2 Jan 2010 WSJ article by ... More Less

The Kids Are All Right was named as one of AFI's Movies of the Year.

The Opening credits read:

       Focus Features and Gilbert Films present

       In association with
       Saint Aire Productions
       Artist International
       10th Hole Production

       An
       Antidote Films
       Mandalay Vision
       and
       Gilbert Films
       Production

Acknowledgments in the end credits include: Scrabble used by permission of Mattel, Inc./Scrabble appears courtesy of Mattel, Inc.; Footage from Monsters Telecast, FOX Sports provided courtesy of AHL; Footage from "The Best of Colt 3 & 4" and "5 & 6" provided courtesy of COLT Studio Group; Footage from "Locked Up Abroad: Uganda" provided courtesy of National Geographic Channel; Television audio clip provided courtesy of Television Food Network, G.P.; Radio show audio clip provided courtesy of KCRW. The end credits also give "Special Thanks" to: Bill Johnson, Jim Seibel, Partizan Entertainment, Kevin Huvane, Tony Lipp, Evelyn O'Neill, Stephen Halls, Gaby Morgerman, Robert Stein, Stephanie Ritz, Carter Cohn, Bart Walker, Jeffrey Levy-Hinte, John Sloss, Pamela Pickering, Jamie Kapel, Ira Resnick, Milton Radutzky, Richard Radutzky, Emilio Mauro, Carter Reedy, Craig Wedren, Nathan Larson, Free City, Michael Hausman, Scott Ferguson, April Janow, Joshua Zerman, Irwin Rappaport, Jennifer Hoopes, Catherine Shao, David Paul Wichert, Rori Bergman, Robert Ziembicki, Caryn Marcus, Warner Ebbink, Little Dom's, Jane Guzman/Los Angeles City Parks, Frank Harris and the gardeners at Ocean View Community Gardens, The staff of Penmar Park and Recreation Center, and The prop houses of Los Angeles.
       According to production notes in AMPAS files, the film was several years in gestation, with actress Julia Moore first attaching herself to the project in 2005 when a production deal seemed imminent. According to a 2 Jan 2010 WSJ article by Lauren A. E. Schuker, the $4 million cost to make the film was raised from individuals after all the major studios had turned down the project.
       After the film was screened at the Sundance Film Festival, Focus Features acquired distribution rights with a guarantee estimated to be between $4.8 and $5 million by various sources.
       Although the film was nominated for a Best Picture Oscar by the Academy of Motion Picture Arts and Sciences and named one of 2010's ten best film by the AFI, initial critical reaction to The Kids Are All Right was mixed. In his 28 Jan 2010 HR review, Justin Lowe described the film as being "an otherwise conventional romantic comedy revolving around the midlife parenting issues of a longtime lesbian couple, this love letter to gay marriage supporters is respectably entertaining filmmaking--it's just not exceptional." In the 2 Feb Var review, Rob Nelson called the film "formulaic," but did point to the director's "palpable and infectious love for characters and actors alike."
       The Kids Are All Right won several awards, including the Golden Globe award for "Best Motion Picture - Comedy or Musical" and "Best Performance by an Actress - Comedy or Musical" for Annette Bening; the GLAAD Media Award for "Outstanding Film"; and the Independent Spirit Award for "Best Screenplay." The film was also nominated for four Academy Awards - "Best Actor in a Supporting Role" (Mark Ruffalo), "Actress in a Leading Role" (Annette Bening), "Best Picture," and "Writing - Original Screenplay."

More Less

SOURCE CITATIONS
SOURCE
DATE
PAGE
Daily Variety
29 Jan 2010.
---
Hollywood Reporter
28 Jan 2010
p. 12.
Los Angeles Times
8 Jul 2010
p. 1.
New York Times
9 Jul 2010
p. 1.
Variety
1 Feb 2010
p. 24.
Wall Street Journal
29 Jan 2010.
---
CAST
PRODUCTION CREDITS
NAME
PARENT COMPANY
PRODUCTION TEXT
A Film By Lisa Cholodenko
DISTRIBUTION COMPANY
NAME
CREDITED AS
CREDIT
DIRECTORS
Unit prod mgr
1st asst dir
2d 2d asst dir
PRODUCERS
Exec prod
Exec prod
Exec prod
Exec prod
Exec prod
Exec prod
Exec prod
Exec prod
Co-prod
Co-prod
Co-prod
Co-prod
Co-prod
Filmed with
PHOTOGRAPHY
Dir of photog
"A" 1st asst cam/"B" cam op
"A" 2nd asst cam
"B" 1st asst cam
"B" 2nd asst cam
Best boy elec
Elec
Rigging gaffer
Rigging elec
Rigging elec
Balloon tech
Key grip
Best boy grip
Dolly grip
Grip
Rigging key grip
Rigging best boy grip
Rigging grip
Rigging grip
Rigging grip
Still photog
ART DIRECTORS
Prod des
Art dept coord
Stand by painter
FILM EDITORS
Post prod supv
1st asst ed
SET DECORATORS
Set dec
Prop master
Asst propmaster
Asst props
Asst props
Food stylist
On set dresser
Set dresser
Set dresser
Set dresser
Set dresser
Set dresser
Set dresser
Set dresser
Greensperson
COSTUMES
Cost supv
Addl Cost
Head ager/Dyer
MUSIC
Mus comp, arr and cond by
Mus supv
Mus ed
Composer's asst
Score rec eng
Asst eng
Score mixed at
Musician
Guitar
Musician
Bass
Musician
Keyboards
SOUND
Sd des and supv
Sd des and supv
Utility sd
Audio post services provided by
Re-rec mixer
Re-rec mixer
Re-rec mixer
Sd ed
Foley rec
Foley artist
Foley artist
Dolby sd consultant
Mgr sd services-Video Film Audio Forensics
VISUAL EFFECTS
Spec eff tech
Main title des
Digital visual eff by
Lead visual eff compositor
Visual eff compositor
Visual eff compositor
+Scale Exec Prod
MAKEUP
Makeup dept head
Makeup dept head
Makeup artist
Hair dept head
Key hairstylist
Key hairstylist
Hairstylist
PRODUCTION MISC
Casting
Los Angeles casting by
Prod supv
Prod coord
Asst prod coord
Loc mgr
Key asst loc mgr
Asst loc mgr
Asst loc mgr
Key prod asst
Set prod asst
Set prod asst
Set prod asst
Set prod asst
Set prod asst
Set prod asst
Set prod asst
Set prod asst
Set prod asst
Set prod asst
Set prod asst
Set prod asst
Prod accountant
1st asst accountant
Payroll accountant
Payroll accountant
Office prod asst
Office prod asst
Casting assoc
Casting assoc
Extras casting
Cast/Producer's asst
Asst to Ms. Moore
Asst to Mr. Ruffalo
Asst to Ms. Cholodenko
Asst to Mr. Gilbert
Asst to Mr. Levy-Hinte
Exec in charge of prod Mandalay Vision
Development exec Mandalay Vision
Video playback coord
Video tech
Transportation coord
Transportation capt
Transportation capt
Transportation co-capt
Picture vehicle capt
Driver
Driver
Driver
Driver
Driver
Head chef
Chef/Driver
Craft service
Set medic
Set medic
Studio teacher
Studio teacher
Financing and distribution advisory services
Prod insurance provided by
at Taylor & Taylor, Ltd.
Vice President Antidote Films
Project supv Antidote Films
Office mgr Antidote Films
Prod Exec Gilbert Films
CEO UGC PH
Head of prod and development UGC PH
Cast & Crew Payroll services provided by
Extras Payroll services provided by
Catering provided by
Elec equip provided by
Prod vehicles provided by
Grip equip provided by
Cam support provided by
STAND INS
Stunt coord
Stunts
Stunts
Stunt rigger
Stand-in for Ms. Moore
Stand-in for Ms. Bening & Ms. Wasikowska
Stand-in for Mr. Ruffalo
COLOR PERSONNEL
Dailies laboratory
Dailies colorist
Dailies project mgr
Post services provided by
Digital film colorist
Digital intermediate prod
Digital intermediate ed
Digital col asst
Imaging tech
Digital restoration
Digital restoration
Data tech
Data tech
Imaging R&D
Engineering
Technicolor exec
Technicolor key account mgr
Technicolor customer service rep
SOURCES
SONGS
"Cousins," Written by Ezra Koenig, Rostam Batmanglij, Chris Baio and Chris Tomson, Performed by Vampire Weekend, Courtesy of XL Recordings Ltd, By arrangement with The Beggars Group
"Out in the Woods," Written and performed by Leon Russell, Courtesy of Capitol Records, Under license from EMI Film & TV Music
"Tailgating," Written by Thomas Hirschmann, Steven Stern and Stuart Hart, Performed by Tom Hirschmann, By arrangement with Selectracks
+
SONGS
"Cousins," Written by Ezra Koenig, Rostam Batmanglij, Chris Baio and Chris Tomson, Performed by Vampire Weekend, Courtesy of XL Recordings Ltd, By arrangement with The Beggars Group
"Out in the Woods," Written and performed by Leon Russell, Courtesy of Capitol Records, Under license from EMI Film & TV Music
"Tailgating," Written by Thomas Hirschmann, Steven Stern and Stuart Hart, Performed by Tom Hirschmann, By arrangement with Selectracks
"Sundown Syndrome," Written by Kevin Parker, Performed by Tame Impala, Courtesy of Universal Music Australia Pty. Ltd., Under license from Universal Music Enterprises, By arrangement with Bank Robber Music
"Panic in Detroit," Written by David Bowie, Performed by David Bowie, Courtesy of RZO Music
"Win," Written by David Bowie, Performed by David Bowie, Courtesy of RZO Music
"Milk Man," Written by Greg Saunier, Satomi Matsuzaki, Chris Cohen and John Dieterich, Performed by Deerhoof, Courtesy of Kill Rock Stars, By arrangement with Terrorbird Media
"A Matar En La Disco," Written by Heath Brennan, Performed by Trespeso, Courtesy of True Music, LLC
"Slippin," Written by Robert Braun and Coco Karshej, Performed by Quadron, Courtesy of Plug Research Records, By arrangement with Visions From The Roof
"Red Handed," Written by Thomas Hirschmann, Steven Stern and Stuart Hart, Performed by Tom Hirschmann, By arrangement with Selectracks
"Black Country Rock," Written by David Bowie, Performed by David Bowie, Courtesy of RZO Music
"Blue Cash," Written by Greg Saunier, Satomi Matsuzaki, Chris Cohen and John Dieterich, Performed by Deerhoof, Courtesy of Kill Rock Stars, By arrangement with Terrorbird Media
"The New World," Written by John Doe and Exene Cervenka, Performed by X, Courtesy of Elektra Entertainment, By arrangement with WMG Film and TV Licensing
"Same High," Written by Camila "Grey" Gutierrez and Leisha Hailey, Performed by Uh Huh Her, By arrangement with Nettwerk Music Group
"When I Grow Up (D Lissvik Remix)," Written by Karin Dreijer-Andersson, Performed by Fever Ray, Courtesy of Rabid Records under exclusive license to Mute, Under license from EMI Film & TV Music
"Blues Alley," Written by Gerard Young and Yukimi Nagano, Performed by Ge-ology featuring Yukimi Nagano, Courtesy of Mineral Werks, By arrangement with Bug
"Galatea's Guitar," Written and performed by Gabor Szabo, Courtesy of Lilac Drive Records
"Fortune," Written by Hakan Wirestrand, Erik Bodin, Fredrik Kallgren-Wallin and Yukimi Nagano, Performed by Little Dragon, Courtesy of Peacefrog
"Good Lovin'," Written by Willie Clark, Johnny Pearsall and Clarence Reid, Performed by Betty Wright, Courtesy of The Numero Group, By arrangement with Bank Robber Music
"All I Want," Written by Joni Mitchell
"Knife," Written by Edward Droste, Daniel Rossen, Christopher Bear and Christopher Taylor, Performed by CSS, Courtesy of Sub Pop Records
"The Youth," Written by Andrew VanWyngarden and Benjamin Goldwasser, performed by MGMT, Courtesy of Columbia Records, By arrangement with Sony Music Licensing.
+
DETAILS
Release Date:
2010
Premiere Information:
Los Angeles and New York openings: 9 July 2010
Copyright Claimant:
TKA Alright LLC/UGC PH
Copyright Date:
31 March 2010
Copyright Number:
PAu003457290
Physical Properties:
Sound
Dolby Digital/DTS
Color
Eastman Color by Technicolor
gauge
35mm
Widescreen/ratio
1.85:1
Duration(in mins):
106
Length(in feet):
9,540
MPAA Rating:
R
Countries:
France, United States
Language:
English
PCA No:
46022
Passed by NBR:
No
SYNOPSIS

Jules and Nic are in a long-term committed lesbian relationship, and each has a child fathered by the same anonymous sperm donor. Nic’s daughter, Joni, is 18 and about to go off to college. She has a platonic boyfriend, Jai, but her high school girl friend, Sasha, urges her to have sex with the boy. Joni’s brother, Laser, is a few years younger, and is curious about his biological father. He persuades his sister to contact the sperm bank to see if they can connect with him. Nic, a doctor, is the more successful of the two women, and the more controlling. Through the years, Jules has tried to work outside the home and made several failed attempts to establish various businesses. Currently, she has bought a pick-up truck to be used in a landscape gardening business. Nic expresses concern for her partner “putting the cart before the horse” by buying the truck before she has any clients, and also lectures Jules on allowing the loose hair from her hairbrush to clog up the drain. She questions Laser’s association with his high school friend, Clay, and is concerned that he might be homosexual. Meanwhile, as he finishes working in his garden, Paul receives a call from the sperm bank and is asked if he would mind being contacted by his biological daughter. Paul agrees to be contacted, then goes to the restaurant he owns and tells Tanya, his hostess and current girl friend, about the contact. When having sex, Jules and Nic sometimes resort to watching gay-male pornographic videos, featuring well-toned and well-endowed male sex performers. ... +


Jules and Nic are in a long-term committed lesbian relationship, and each has a child fathered by the same anonymous sperm donor. Nic’s daughter, Joni, is 18 and about to go off to college. She has a platonic boyfriend, Jai, but her high school girl friend, Sasha, urges her to have sex with the boy. Joni’s brother, Laser, is a few years younger, and is curious about his biological father. He persuades his sister to contact the sperm bank to see if they can connect with him. Nic, a doctor, is the more successful of the two women, and the more controlling. Through the years, Jules has tried to work outside the home and made several failed attempts to establish various businesses. Currently, she has bought a pick-up truck to be used in a landscape gardening business. Nic expresses concern for her partner “putting the cart before the horse” by buying the truck before she has any clients, and also lectures Jules on allowing the loose hair from her hairbrush to clog up the drain. She questions Laser’s association with his high school friend, Clay, and is concerned that he might be homosexual. Meanwhile, as he finishes working in his garden, Paul receives a call from the sperm bank and is asked if he would mind being contacted by his biological daughter. Paul agrees to be contacted, then goes to the restaurant he owns and tells Tanya, his hostess and current girl friend, about the contact. When having sex, Jules and Nic sometimes resort to watching gay-male pornographic videos, featuring well-toned and well-endowed male sex performers. Later, Joni receives a phone call from Paul, who is told by Joni that he also has a son. They arrange to meet at Paul’s restaurant, and have a rather awkward first encounter, but agree to meet again. However, Joni insists that her brother not tell their parents of the meeting. Soon after, with his parents away, Laser and Clay explore the women’s bedroom and find one of their porno tapes. They start to play it, but Jules comes home and discovers them watching a scene involving male nudity, adding more fuel to the concern that Laser might be gay. In the ensuing lecture he receives from his two moms, Laser is chastised for going through his parents’ room, but also told that they are open-minded and asked if he has any questions. Yes, he has a question: he wants to know why the lesbian women would want to watch "gay man porn"? Somewhat embarrassed, Jules ties to explain that human sexuality is complicated, and that films featuring men show an "externalized" sexual response; but Nic is less interested in explaining herself than she is in knowing whether Laser has some sort of relationship. Misunderstanding, Laser blurts out that the kids have contacted their father, and when he realizes that this is not what Nic was asking about, he challenges them: “Did you think I was gay?” Nic insists that “no one’s seeing anyone until we meet him,” and she and Jules invite Paul over for dinner. At the meeting they learn about each other’s lives. Nic seems disappointed that Paul is in the “food service industry.” When she read his profile at the sperm bank years ago she recalled that he wrote that he was studying foreign relations. It also comes out that Nic and Jules met when Nic was a resident at UCLA, and Jules had come in as a patient. Jules mentions that she wants to start a landscaping business, and Paul offers her a job to makeover his garden. After he leaves, Nic tells Jules she doesn’t like the idea of her working for their sperm donor, but Jules takes this as yet another attempt by Nic to keep her at home and dependent. As she works with Paul in his garden and gets to know him, Jules is astonished and says, “I keep seeing my kid’s expressions in your face.” As Laser develops a bond with Paul, Clay resents the sperm-donor’s intrusion into their friendship, and Paul shares the concerns of Nic and Jules that Clay is not an appropriate companion for Laser. When Nic comes home to apologize to Jules for being so “bitchy” lately, she attempts to make up by drawing a warm bath for her partner; but when she leaves the bathroom to get some lavender salts and does not return, Jules become anxious. She gets out of the tub to look for Nic and discovers her drinking wine and on the phone with one of her patients. Then, when Jules unveils her plans for the garden to Paul, he does not respond right away, and she is devastated again. He assures her he was not disapproving, but merely being reflective. Jules reveals: “Sometimes I mistake silence for criticism.” She aggressively kisses Paul, but then backs off, acts contritely and says, “I don’t know where that came from.” One day, as Clay expresses his disdain for Paul to Laser, a dog comes up to the boys in an alley. Clay wants to piss on the dog’s head, and starts unzipping his fly. Laser protests, and Clay hits him in the face. Their friendship is now history. Joni also develops a closer connection with her father and works with him in his garden; but when he gives her a ride home on his motorcycle, Nic gives Joni and Paul a tongue lashing. Based on her experience as a doctor seeing accident victims, Nic has forbidden Joni to ride on motorbikes, but the girl protests that she is 18 and only a month away from going off to college and ought to be able to make her own decisions. Nic offers that as long as Joni lives at home she will follow the house rules. The next day, while working at Paul’s, Jules apologizes for Nic’s outburst and for her own attempt to kiss him—but she can’t help herself and ends up in bed with Paul. That evening at dinner with friends, Nic goes off on Jules about current food and environmental fads and storms away from the table, but later lets slip that she feels Paul is taking over her family. Nic is unaware just how true this is, as Jules and Paul continue their passionate daytime affair as she supposedly works in Paul’s garden. When Nic proposes that the entire family have dinner at Paul’s house so she can see the progress Jules is making in the garden, Jules tells her that she’s really just getting started. Jules speeds up her efforts to make the garden presentable, and tells Paul that she cannot continue their affair—but again they end up in bed and Paul tells Jules he thinks he’s falling for her. Sometime later Tanya tells Paul that she misses their “sleepovers,” but Paul tells her he is ready to settle down with someone who is also ready—someone other than Tanya. Upset at getting the brush off, Tanya tells Paul, “Fuck you.” The family finally gathers at Paul’s for dinner. Nic looks over the garden and tells Jules that she is proud of her accomplishment; and she also discovers that Paul has a fondness for Joni Mitchell’s “blue album,” and tells Paul that her Joni was named after Joni Mitchell. Nic and Paul seem to hit it off finally, but when she goes to the bathroom, she discovers Jules’s hair on a hairbrush and in the drain, and immediately becomes aware that Jules and Paul are having an affair. At home, Nic confronts Jules asking if she is in love with Paul and if she is straight now? Jules responds that she just needs to be appreciated. When Nic leaves the room, she discovers the kids have been listening outside the door. Banished to the living room couch, Jules tries to explain to Joni, but the girl won’t speak to her. Jules then tells Laser that her relationship with Paul is over. Joni cannot forgive Paul for breaking up the family. Sometime later, at a party with friends, Joni sees Jai talking to another girl. Sasha again urges Joni to make a move with Jai. Joni goes over to Jai, interrupts his conversation and drags him off with her. She starts kissing him, but pulls away after Jai responds, and leaves the party. At home, Jules and Nic are concerned that Joni is drunk—she responds by saying she is sick of both of them. During Joni’s last dinner at home, Paul attempts to see her and reestablish a bond between them. She tells him, “I wish you could have been better.” Nic comes to the door and calls Paul an interloper, and says that if he wants a family he should go make one of his own. Later that evening, Joni, Laser and Nic are watching a movie on television. Still cast out of the family circle, Jules grabs the remote, shuts off the TV and says she has something to say. She tells them that marriage is hard, that couples are together for so long that they stop seeing the other person, and that sometimes you hurt the ones you love the most. She says she is sorry and hopes they will forgive her. The next day Jules, Laser and Nic take Joni to her new college dorm room. In the back seat on the ride home, Laser tells his parents that he doesn’t think they should break up. When asked why, he says that he thinks they’re too old. Not exactly thrilled with Laser’s response, nevertheless, Jules and Nic hold hands as they continue toward home. +

GENRE
Genre:
Sub-genre:
Domestic


Subject

Legend
Viewed by AFI
Partially Viewed
Offscreen Credit
Name Occurs Before Title
AFI Life Achievement Award
The American Film Institute is grateful to Sir Paul Getty KBE and the Sir Paul Getty KBE Estate for their dedication to the art of the moving image and their support for the AFI Catalog of Feature Films and without whose support AFI would not have been able to achieve this historical landmark in this epic scholarly endeavor.