Perhaps you can view this as the American Beauty for the new millennium. Nic and Jules have a dedicated, yet stressful marriage. Nic is a successful doctor who sometimes can be a bit overbearing; Jules is more of a free-spirit: a homemaker with an occassional odd job on the side. They have a two kids, Jodi and Laser, a nice house, and even a Volvo. If it hasn’t been spoiled for you already, allow me: Nic and Jules are gay.
When the almost-college-bound Jodi (Mia Wasikowska) reaches out to the man whose sperm conceived her and her brother, the family is introduced to Paul (Mark Ruffalo) whose nonchalant, free-spirit attitude towards the world in general wins over almost everyone. He’s not into school, doesn’t like team sports, rides a motorcycle and runs an organic, local farm and restaurant. Jodi and Laser (Josh Hutcherson) develop close bonds to their almost dad while Jules (Julianne Moore) starts having, well, other feelings for him. Only Nic (Bening) is left out as she sees the rest of her family flock towards the new almost-member of the family.
The opinions that you or I may have about non-traditional families is not really important here as life goes on regardless just like drug use and Pauly Shore. Really, the lesbian angle is a non-factor here. Granted, Nic and Jules are gay and they display affection toward each other appropriately. But this story could have easily been told from a traditional family model with Paul being replaced by a previous fling for one spouse or the other.
Co-writer and director Lisa Cholodenko wisely keeps the tone of the film fairly light. There are some heavily emotional scenes between the family and their new dynamic but there are as many scenes of just playful conversation or bonding between Paul and his almost kids. This helps deflect some of the deeper issues as ultimately this is a story about the deterioration of a relationship due to an outside influence. After meeting the kids, Paul wises up and realizes that he does not want to spend the rest of his life going between fleeting interests in women or careers. He comes to see this as his family and when him and Jules have an affair, he is convinced that they will be a normal family.
Okay, a large part of the reason I kept thinking of Sam Mendes‘ award-winning debut film was actually because of Bening. In fact, Nic and Carolyn Burnham are like kindred cinematic spirits. Nic undoubtedly is the dominant head of the household. She exerts control but at a cost of alienating those around her and coming to terms with that by copious amounts of alcohol. Both Bening and Moore exert a great chemistry together making these two (as far as I am aware) straight women seem like life-time partners. When the damage is done to their relationship, things unfold as they would in any other household with despair, distrust, and ultimately someone sleeping on the couch.
Ruffalo has the troublesome job as the guy who is yoked into an awkward situation (which there were plenty throughout the film) and foolishly tries to make the best of it by less than honorable means. His is a thankless role as he is the main catalyst for the narrative’s unfolding but yet, just like to the family, he is an outsider who is less important to the point that Paul’s role does not get a proper conclusion other than being told off by Nic.
At its conclusion, after dropping Jodi off at her first day of college after a tearful goodbye, Laser remarks that Nic and Jules should stay together. Because they’re too old that is. In its final moments, the film solidifies its hook: it is a real but yet comedic look at a family, one which may be different than yours or mine, but one that is just as imperfect as everyone else.
Oh, and as for Wasikowska and Hutcherson: well, those kids were all right.
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