After two months of being subjected to one mediocre and disappointing summer movie to the next, I was pretty much ready to give up on this summer season. But then a funny thing happened. I watched not one, but two vastly different yet supremely crafted movies in a row. The first was Christopher Nolan’s excellent science fiction puzzler “Inception” which is now on its way to become one of the year’s most successful films. The second was Lisa Cholodenko’s impeccably written and directed “The Kids Are All Right” – a charming and poignant comedy that is without doubt, one of the year’s finest films.

Nic (Annette Bening) and Jules (Julianne Moore) are a well-off Southern Californian lesbian couple who live with their children Joni (Mia Wasikowska) and Laser (!) (Josh Hutcherson) – both conceived via artificial insemination using the same anonymous donor. Nic is a successful doctor who takes pride in taking control of her household (a.k.a. she’s a bit of a control-freak). Jules, on the other hand is of the Joan Jett-type: She’s aimless and more of a biker chick who goes with the flow. Joni, the couple’s oldest child, is a beautiful and intelligent 18-year-old who, like her biological mother Nic, is reserved and a perhaps a bit uptight. Like most teenage girls, she’s curious and shy around boys, and will be leaving to college at the end of the summer. Her 15-year-old brother Laser (cool name) played by Josh Hutcherson is a lot like his biological mother Jules –rebellious and a bit of dunce when it comes to picking good company.

Perhaps yearning for a father figure, the aimless Laser one day convinces Joni to seek out their biological father without thinking about the consequences of such a meeting. Joni’s research leads them to Paul (Mark Ruffalo), a laid-back, self-centered 30-something womanizer who makes his living as a successful organic farmer/restaurant owner. When Paul learns of the existence of Joni and Laser, he is at first shocked. However, as he awkwardly gets to know the two kids and gradually their parents, he comes to embrace the idea of himself as a parent/father figure. It’s his influence and addition to this tightly knit family that leads to numerous awkward and hilarious moments and eventually heartbreaking conflicts as well.

“The Kids Are All Right” was one of the breakout hits of the 2010 Sundance Film Festival. The dramedy proved so popular with critics and festival audiences that Focus Features paid out a record $4.8 million for the film’s domestic distribution rights. Not a bad investment since the picture is already charming art house moviegoers and sending the cash registers into overdrive. It’s not hard to see why. This is a damn fine film.

While the concept of a family led by a lesbian couple may be the major selling (and detracting) point for many potential moviegoers, writer-director Lisa Choledenko, who also directed the well-received independent dramas “High Art” and “Laurel Canyon,” never makes the “L-word” the focus of the picture. Instead, Jules and Nic are depicted just like any other over-protective, over-bearing parents who are struggling with their teenage kids. Like most parents, Nic and Jules are concerned about the company their children keep, scare them about the dangers of riding motorcycles and even try and give them the awkward sex talk from time to time. A scene where the parents awkwardly confront Laser about his sexuality is one of the film’s funniest scenes. Likewise, the role of Paul “the donor,” never feels forced or fake. He’s naturally confused, awkward (not to mention, terrified) when meeting the kids for the first time – saying the wrong things, overreacting to minor details and trying to be over-friendly. The kids too, while curious about the guy, are a bit perplexed about his role in their lives. Should they treat him as a friend or as a father-figure?

Perhaps these dynamics work so well because Choledenko herself has some experience with the subject. Choledenko, a lesbian, also gave birth to a son through an anonymous sperm donor. In an interview with NPR, the filmmaker stated that the idea of the film was born out of her curiosity about finding the father’s identity – something only her child is legally allowed to know when he turns 18. Co-writer Stuart Blumberg also added to the personal element since he had donated anonymously during his college days. With this insight, the duo was able to tell the story from the angle of both, the parents and a donor.

Of course, without strong actors none of this would work as well and “The Kids Are All Right” features one of the finest ensembles of the year. As the controlling matriarch Nic who slowly finds her role as the family’s leader being questioned and threatened, Annette Bening is sensational. Nic is the character who is most affected by the appearance of Paul and Bning builds her into a complicated character that we both dislike and care for. She’s especially strong in a powerful sequence set during a dinner where she finally lets her guard down. It may not be career-best work on the level of say “American Beauty” or “The Grifters” but it’s another terrific performance from one of America’s finest actresses; a performance that will undoubtedly play a strong role during awards season later this year.

While Moore doesn’t get to do as much heavy-hitting as Bening, Jules is arguably the film’s most complex character. Always berated by Nic for being aimless and unfocused, Jules is a woman desperate for attention. However, when she does find it in an unlikely place, she puts herself in a situation that could eventually break the entire family apart.

Ruffalo, an extremely underrate character actor, is also very good in a nonchalant performance. Though Paul may not be Mr. Congeniality, Ruffalo makes the audience sympathize with him (especially the male audience) as he takes on the role of tourist in this unique family. No one plays cool and relaxed like this guy (perhaps that’s what’s most intriguing about Marvel picking him to play the Hulk in their upcoming superhero movie “The Avengers.”)

Wasikowska, last seen as the title character in Tim Burton’s dreadful “Alice in Wonderland,” fares much better in this movie than in the blockbuster as she’s given something more to do here than just stand around spouting abysmal dialogue and play third fiddle to Johnny Depp and Helena Bonham Carter. Joni is probably the emotional center of “Kids” and in a way the film is her coming-of-age journey. Hutcherson rounds out the cast as the introspective Laser. His arc is probably the film’s only weak link as Cholodenko and Blumberg don’t devote too much time on him other than a few scenes with a delinquent buddy.

VERDICT: Lisa Cholodenko’s “The Kids Are All Right” is a warm, poignant and brutally honest examination of the life of a truly modern family. Not only is it funny and thoughtful but it’s also a showcase of wonderful writing, assured direction and powerful acting. Though its subject matter might not be for everyone, anyone who appreciates a strong independent dramedy in the vein of “Sideways” and “An Education” will find themselves enjoying this wonderful movie. This is one of the year’s strongest films.

GRADE: A-

THE KIDS ARE ALL RIGHT
Directed by: Lisa Cholodenko
Written by: Lisa Cholodenko & Stuart Blumberg
Starring: Annette Bening, Julianne Moore, Mark Ruffalo, Mia Wasikowska, Josh Hutcherson
Rated: R (for strong sexual content, nudity, language and some teen drug and alcohol use)