Disney's The Kid

Release Date: July 2nd, 2000

Cast :

Directors: Jon Turteltaub

Even if Disney had not pretentiously slapped it’s own name in the title, the movies persistent emotionally hammering storytelling method would have given away it’s creator.  The mouse house’s live-action assembly line has generated yet another piece of predicable feel-good fluff.  Only the names have been changed to prevent plagiarism charges.  It is harmless, innocent and will leave a warm feeling during its viewing, but once the darkness fades, so does this movie’s lingering effect.

The interesting, but unoriginal premise shamelessly steals elements from It’s A Wonderful Life, Groundhog Day and Back to the Future.  Russ Duritz is an image consultant.  He helps people lie about who they are, so they can pretend to be someone else.  During the reflective period prior to his 40^th birthday, he believes he is suffering a breakdown. He’s a man whose time is valuable, and to whom room in his life is limited.  He doesn’t have room for his pseudo girlfriend (Emily Mortimer) who is pushing him for definition.  He has no room for his father, who seeks only a bit of his time for moving and family get-togethers.  He definitely doesn’t have time to go crazy and deal with visions of a mysterious airplane and a chubby kid whom appears out of nowhere.  Once this kid is revealed to be himself 32 years prior, Willis follows the normal clichéd reactions; discovery, shock, denial acceptance and finally the inevitable desire for resolution.   Disney’s heavy-handed touch smothers the movies plot in sweet sugary moments.  Forsaking character development for over dramatized situation played solely for the cute factor.  Lost in between are some glaring plot problems.  The most obvious discrepancy is the effect and influence of meeting yourself and potentially changing the course of life.  Back to The Future dealt with this in great detail, The Kid chooses to ignore it.  Another problem comes with conclusion and explanation of the kid’s presence.  Thankfully, the writers did not throw in magic spells, genies or scientific potions.  However the end result is still a bit of a copout.  The writers painted themselves into a corner then took the safest and easiest way out.  In the hands of any other director, this could have been a combination family film about recapturing lost youth and a psychological and introspective look into revisiting and confronting past demons. The result erred on the conservative side of politically correct appeal instead of taking a chance.  Granted, the audience for this film is going to be kids and family, but a happy medium could have been found without kowtowing to the Disney standards.

In the acting department, Willis both succeeds and fails.  He is at his best when playing edgy and sarcastic. The early scenes developing his job and attitude towards life display this. That ever-present glint in his eye and smirk always carry a hint of playful insincerity.  The attempted change in his character never seems believable. When he does try to play it straight, it always seems like there is something up his sleeve.  Any nameless, faceless playground casting call winner could have done the kid.  This one is cutesy when he has to be, and does have a good rapport with Willis, although the resemblance department is quite lacking.  Like the rest of the movie, he is never really bad, always cute and hamming for the camera, but ultimately as sweet, yet empty as the film.  There are two performers which standout and deserve recognition.  Jean Smart only appears in two scenes with Willis, but absolutely steals them both.  Her ease, natural charm and powerful delivery of sage advice are a breath of fresh air that the film needed.  Also, Lily Tomlin, still basking in her Murphy Brown power trip role, who gets the movie’s best lines as Willis’s wisecracking assistant.  She then takes these lines with the great comic timing and sarcastic sincerity that is sorely lacking in rest of the film.

Ultimately, The Kid is a harmless piece of cinematic cotton candy.  The heart and soul of the film is in the right place and the intentions are innocent, but overdone and misguided.  This movie will find its audience in families and those who wish they could relive their fantasies of their youth.  For them, it will be an innocent escape, for most others, it will require a trip to the dentist afterwards. ($$ out of $$$$)

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