Why do so many family movies have to be family
movies? Why does the presence of children in Cheaper
by the Dozen 2 and Yours, Mine & Ours mean the
films must be dumbed down for children? The best family movies are actually
made for adult-minded audiences. The Upside of
Anger (2005), the best recent film to
focus on a family, unfortunately disappeared without a trace. Joan
Allen’s anger stems from her strained relationships with her four
grown daughters, a problem that is exacerbated by her husband’s
running off with another woman. The last thing she needs is to be romanced
by a drunken retired baseball player, but that doesn’t stop Kevin
Costner from moving in on the family. The acting of the entire cast —
particularly Allen, who probably won’t get a well-deserved Oscar
nomination — is exemplary. Former standup comedian Mike Binder has
created a funny and perceptive film about family turmoil. Family comedies are rarely regarded by the Academy as
a subject worthy of Oscar consideration, but American
Beauty (1999) is dark enough to be an
exception. Sam Mendes’ satirical dissection of a dysfunctional
middle-class family is such an acerbic gem, it’s hard to believe the
Academy chose it. American Beauty presents a corrosive marriage in its final stages. Kevin
Spacey and Annette Bening nail their characters with such precision that
it’s easy to forget that they’re acting. Flirting with Disaster (1996)
tackles the subject of adoption with amazing wit and intelligence. Ben
Stiller journeys to find his birth parents with his wife, child, and a
woman from the adoption agency that placed him in tow. Armed with a list of
possible parents, the group stumbles into one disastrous confrontation
after another. This is a rare comedy that remains afloat until the very
end. America doesn’t have a monopoly on crazy
families. Muriel’s Wedding (1994), from Australia, is a much darker comedy than its
title suggests. Muriel (Toni Collette), a pitiful, overweight outcast,
obsesses over getting married, and logic and reason will not stand in her
way. Her family life in the town of Porpoise Spit is positively deranged.
There isn’t a heartwarming moment in sight. The Snapper (1993), from Ireland, is
a quirky comedy about unwanted pregnancy. Colm Meaney gives a wonderfully
understated performance as the father of a 20-year-old woman who refuses to
reveal the name of the father. Director Stephen Frears avoids formula and
predictability in bringing to life a family confronting a town scandal.
“Family” isn’t a dirty word in film — if you look
for the right ones. New releases on DVD on Tuesday (Jan. 10): The Constant
Gardener, Red Eye, and Transporter 2.
This article appears in Jan 5-11, 2006.
