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Comedy - 22 March 2013 (USA)
A Princeton admissions officer who is up for a major promotion takes a professional risk after she meets a college-bound alternative school kid who just might be the son she gave up years ago in a secret adoption.
Director: Paul Weitz
Writers: Karen Croner, Jean Hanff Korelitz
Stars: Tina Fey, Paul Rudd, Nat Wolff
Parents need to know that Admission stars Tina Fey as a Princeton admissions officer whose professional ambitions are compromised when she learns that an unlikely applicant may be the son she gave up for adoption years ago. Paul Rudd co-stars as Fey's love interest and mentor to the hopeful teen (played by Nat Wolff of Nickelodeon's The Naked Brothers Band). Admission -- which is based on the novel by Jean Hanff Korelitz -- looks like a sweet comedy about ambition, personal sacrifice, family, and forgiveness, and Fey and Rudd have wide appeal. Expect some strong language and racy humor, as well as some smoking, drinking, and partying among teens and college students.
Though smarter than your average dramedy, Paul Weitz’s forced “Admission” faces some major identity issues. Tina Fey plays a discombobulated Princeton admissions officer who must confront the limits of her morals when she learns that a potential Princeton applicant might be the son she gave up for adoption. What appears on paper to be an ideal three-dimensional, morally complex role for the quick-witted comedienne backfires in practice, relying on Fey to be funny in a movie that works better serious. Despite offering consolation to the world’s many Ivy League rejects that the gatekeepers sometimes make mistakes, low entrance levels await.
While the book treats the maternity wrinkle as its big surprise, the more plot-driven adaptation serves it up as a central concept, positioning Fey’s Portia Nathan as an increasingly screwball character struggling (and mostly failing) to maintain her professional ethics amid a messy personal crisis.
Through a series of clunky, on-the-nose character-development scenes, the pic establishes Portia’s life — or, more accurately, her current state of denial: She’s fallen into a predictable routine with her tweedy lit-professor b.f. (Michael Sheen), her fastidiously clean workspace and her general intolerance of kids.