It wasn’t so long ago that Ben Affleck was among the easiest punchlines in Hollywood: A wooden, one-note actor with horrendous taste in projects, a consistent provider of gossip fodder, and the co-winner of a screenwriting Oscar that few believed he actually deserved. But then, in 2007, he made the second-wisest move of his career (just behind ditching J-Lo and settling down with J-Garn): He turned his focus to further developing his behind-the-camera talents, choosing Gone Baby Gone, a twisty, noirish mystery based on a novel about a specious kidnapping, for his directorial debut (and opting to leave the acting chores in the film to his younger, squirrelly brother, Casey). […]
Even the most intelligent, wealthy, successful adults can be pretty clueless about raising kids. Think about the living hell these folks must endure — all that time, freedom and discretionary income on their hands, but no one for their inner children to play with! Luckily, in the world of producer/director Paul Weitz, there’s always a chance that a kid might unexpectedly enter their lives and rouse them from their self-absorbed, myopic, world view.
Weitz recreates the formula that worked so well in About a Boy in his new romantic comedy, Admission, starring Tina Fey and Paul Rudd. Both movies have appealing stars playing characters who appear polished and competent on the outside, yet who are somewhat damaged and lost on the inside. In both, the protagonist’s world is shaken when a boy comes along to makes them question everything they hold dear. The experiences they go through cause them to change, which in turn causes the people around them to change as well.