DVD Review: Kit Kittredge: An American Girl

Click Here to Explore Video Clips, Interviews, Photos & More

In honor of October 28th's DVD & Blu-ray release of the heartfelt family film, Kit Kittredge: An American Girl, I'm offering you an insider's view of the DVD that Warner Brothers was kind enough to send my way. However, before I go into the DVD features, first I'll serve up a reprint of my original review (with bonus photos) published for its theatrical run back on 7/2/08.

Kit Kittredge: An American Girl

Director: Patricia Rozema

As every parent knows, all kids ask “why” but while most are satisfied enough by succinct replies to end their fleeting curiosity there, precocious ten year old Kit Kittredge (Little Miss Sunshine's Abigail Breslin) doesn’t neglect to ask the other five questions that go along with it-- namely the “who,” “what,” “where,” “when,” and “how” which all meld together to illuminate the bigger picture of whatever pops into her fascinatingly inquisitive mind.

An ambitious newshound, when Kit isn’t spending time with the three other members of her adolescent feminist Treehouse Club complete with photos of idols Amelia Earhart and Eleanor Roosevelt given places of honor on the wooden walls, she wears out her shoe leather and typewriter ribbon in her ardent quest to become a full-fledged journalist for the local Cincinnati Register. Despite her youth, the tireless self-starter investigates every lead at her disposal, knowing how to handle a source with confidentiality, work a piece from a new angle, always be cautious of burying the lead, endlessly checking her facts and similar to the way that Nancy Drew was known as a “girl detective,” Kit Kittredge--to whom she’ll no doubt draw comparisons-- is a truly gifted “girl reporter.”

Based on the successful American Girl series of books from Kit author Valerie Tripp made popular in my own adolescence, Mansfield Park director Patricia Rozema’s earnest, unabashedly nostalgic and sweet-natured film which was penned by Chronicles of Narnia scripter Ann Peacock announces its aims towards offering something positive for women proudly from the start over opening credits which reveal that in addition to the writer and director, there were an uncharacteristically large amount of female professionals associated with the movie including executive producer Julia Roberts, whose own niece Emma had coincidentally starred in the most recent version of Nancy Drew.

Given the outstanding production value of not only Drew but especially Kit, I’m remaining cautiously optimistic that the film won’t be buried in the wake of ultra-violent, special effects driven summer blockbusters and that it will not only earn a steady following increased no doubt by positive word of mouth but will also inspire more intelligent fare for young knowledge hungry audiences as impressively Kit seems to be a film entirely apart from what could’ve had excellent product placement potential, standing on its own as superlative and overdue family fodder.

Set during the uncertainty of the Great Depression, we find Kit’s initial goal of trying to break into print journalism through the connection of her brother’s friend who erroneously assumed the young woman simply wanted a tour of the big, bad, masculine newsroom led by domineering editor Wallace Shawn, placed on the back burner when the effects of the trying economy and era hit home as her caring father (played by Chris O’Donnell) finds his car dealership taken over by the bank and he’s forced to venture to Chicago to find work to support his wife (Julia Ormond) and family.

Not content to sit back and wait, Kit and her mother take in eccentrically zany boarders such as a husband hunting, flirtatious dance instructor (Jane Krakowski), Joan Cusack as a buttoned-up mobile librarian who’s a terror behind the wheel, and a part time magician and full time ham played by Stanley Tucci. When the gregarious and trusting Kit befriends two young hobos (Jumper’s Max Thieriot and Willow Smith) whom her mother employs to contribute in odd jobs in exchange for food, she encounters class prejudice after a series of robberies hits her sleepy neighborhood and all fingers point towards the hobos, inspiring Kit to once again rely on her budding reporter’s intuition and skills to sleuth out the case on her own in discovering the true culprits and helping to clear not only her friends’ names but also try and prevent her home from foreclosure.

Although the primary audience will most likely be young girls and their mothers, this G rated feature packs a great punch in offering viewers a surprisingly complicated mystery—including one that does admittedly seem to confuse slightly in the final rushed act when clues are revealed far too quickly. In addition, it’s filled with important historical information that definitely echoes today in our struggling economy not to mention messages of loyalty, perseverance, tolerance, justice and friendship which make it ideal for viewers of both genders, if parents can manage not to mention the American Girl book series connection in getting their sons into the theatre.

And speaking from the perspective of a girl who, much like Kit was far too eager to jump into the professional realm in her adolescence (and in my case trying to join Seinfeld’s writing staff at the age of eleven), it’s a wonderful celebration of childhood innocence and the reminder never to diminish a child’s dream, especially when like Kit, they’re more concerned with intellectual pursuits rather than begging for trips to the mall to buy toy tie-ins to other summer blockbusters. Although in the case of Kit, as an aunt, if my niece were just a few years older, I wouldn’t hesitate to purchase her a Kittredge doll in lieu of Barbies and Bratz.

DVD Features:

Winner of the Heartland Award certifying Kittredge as a "Truly Movie Picture," the DVD offers 3 formats for your viewing pleasure-- the original widescreen aspect ratio which preserves the theatrical version and is enhanced for widsecreen televisions, a full-screen edition which is modified from the original but formatted to fit the shape of your screen, as well as a digital copy you can download to play on your Mac, PC, Video iPod or other portable video device.

Featuring a gallery of of trailers from the other American Girl Movies that went straight-to-DVD and can be purchased below by checking out the Mini-Amazon American Girl Collection Slideshow I've provided, Kit's DVD also boasts features that are enhanced for DVD-ROM equipped personal computers. Additionally, the film provides English and Spanish subtitles for the deaf or hearing impaired as well as crystal clear Dolby Digital 5.1 Surround Sound.

Hands down the best live action (or non-animated) children's film I've seen in 2008, Kit Kittredge is one you should definitely introduce to the women in your life-- whether it's your grandmothers who may recall the time period firsthand, your mothers, or for the next generation and its target audience of children and grandchildren. An extraordinary, underrated gem-- follow along with Kit and stay on the case until you bring this highly recommended disc home on DVD or Blu-ray.

Kit Kittredge: An American Girl

NEW UPDATES

Explore Kittredge Videos, Interviews Pics & More

The Film Intuition DVD Review

Director: Patricia Rozema

As every parent knows, all kids ask “why” but while most are satisfied enough by succinct replies to end their fleeting curiosity there, precocious ten year old Kit Kittredge (Little Miss Sunshine's Abigail Breslin) doesn’t neglect to ask the other five questions that go along with it-- namely the “who,” “what,” “where,” “when,” and “how” which all meld together to illuminate the bigger picture of whatever pops into her fascinatingly inquisitive mind. An ambitious newshound, when Kit isn’t spending time with the three other members of her adolescent feminist Treehouse Club complete with photos of idols Amelia Earhart and Eleanor Roosevelt given places of honor on the wooden walls, she wears out her shoe leather and typewriter ribbon in her ardent quest to become a full-fledged journalist for the local Cincinnati Register. Despite her youth, the tireless self-starter investigates every lead at her disposal, knowing how to handle a source with confidentiality, work a piece from a new angle, always be cautious of burying the lead, endlessly checking her facts and similar to the way that Nancy Drew was known as a “girl detective,” Kit Kittredge--to whom she’ll no doubt draw comparisons-- is a truly gifted “girl reporter.”

Based on the successful American Girl series of books from Kit author Valerie Tripp made popular in my own adolescence, Mansfield Park director Patricia Rozema’s earnest, unabashedly nostalgic and sweet-natured film which was penned by Chronicles of Narnia scripter Ann Peacock announces its aims towards offering something positive for women proudly from the start over opening credits which reveal that in addition to the writer and director, there were an uncharacteristically large amount of female professionals associated with the movie including executive producer Julia Roberts, whose own niece Emma had coincidentally starred in the most recent version of Nancy Drew.

Given the outstanding production value of not only Drew but especially Kit, I’m remaining cautiously optimistic that the film won’t be buried in the wake of ultra-violent, special effects driven summer blockbusters and that it will not only earn a steady following increased no doubt by positive word of mouth but will also inspire more intelligent fare for young knowledge hungry audiences as impressively Kit seems to be a film entirely apart from what could’ve had excellent product placement potential, standing on its own as superlative and overdue family fodder.

Set during the uncertainty of the Great Depression, we find Kit’s initial goal of trying to break into print journalism through the connection of her brother’s friend who erroneously assumed the young woman simply wanted a tour of the big, bad, masculine newsroom led by domineering editor Wallace Shawn, placed on the back burner when the effects of the trying economy and era hit home as her caring father (played by Chris O’Donnell) finds his car dealership taken over by the bank and he’s forced to venture to Chicago to find work to support his wife (Julia Ormond) and family. Not content to sit back and wait, Kit and her mother take in eccentrically zany boarders such as a husband hunting, flirtatious dance instructor (Jane Krakowski), Joan Cusack as a buttoned-up mobile librarian who’s a terror behind the wheel, and a part time magician and full time ham played by Stanley Tucci. When the gregarious and trusting Kit befriends two young hobos (Jumper’s Max Thieriot and Willow Smith) whom her mother employs to contribute in odd jobs in exchange for food, she encounters class prejudice after a series of robberies hits her sleepy neighborhood and all fingers point towards the hobos, inspiring Kit to once again rely on her budding reporter’s intuition and skills to sleuth out the case on her own in discovering the true culprits and helping to clear not only her friends’ names but also try and prevent her home from foreclosure.

Although the primary audience will most likely be young girls and their mothers, this G rated feature packs a great punch in offering viewers a surprisingly complicated mystery—including one that does admittedly seem to confuse slightly in the final rushed act when clues are revealed far too quickly. In addition, it’s filled with important historical information that definitely echoes today in our struggling economy not to mention messages of loyalty, perseverance, tolerance, justice and friendship which make it ideal for viewers of both genders, if parents can manage not to mention the American Girl book series connection in getting their sons into the theatre.

And speaking from the perspective of a girl who, much like Kit was far too eager to jump into the professional realm in her adolescence (and in my case trying to join Seinfeld’s writing staff at the age of eleven), it’s a wonderful celebration of childhood innocence and the reminder never to diminish a child’s dream, especially when like Kit, they’re more concerned with intellectual pursuits rather than begging for trips to the mall to buy toy tie-ins to other summer blockbusters. Although in the case of Kit, as an aunt, if my niece were just a few years older, I wouldn’t hesitate to purchase her a Kittredge doll in lieu of Barbies and Bratz.

Vitus

Director:
Fredi M. Murer

With an I.Q. so high that it’s incalculable, at age six, Vitus Van Holzen (Fabrizio Bursani) is pulled out of kindergarten. His overwhelmingly intimidating mental capability is one thing but it seems his social skills may have been the major culprit as his instructor tells his British mother (Julika Jenkins) that instead of tackling typical children’s books, young Vitus was reading about global warming and scaring the life out of his classmates.

While the world may not be ready for Vitus, his mother and father (Urs Jucker) have other plans for their son and in promoting his self-education, they begin focusing wholeheartedly on his innate musical ability by bouncing the young piano prodigy from teacher to teacher in his readiness quest for concerto perfection. When asked which career he’d like to tackle as an adult, Vitus doesn’t have a concrete answer yet he seems to have an interest in becoming a vet that goes against his parents strict wishes for greatness. With the guidance of his gentle, supportive grandpa (Bruno Ganz) who-- much like Vitus-- is an equally adventurous dreamer, Vitus grows to rebel against his parents at age twelve (now played by Teo Gheorghiu) as he focuses his attention to stock market revenge and securing the Tina Turner singing babysitter of his dreams while coming-of-age his own way. His decisions on getting by according to his own rules become all the more important when he’s enrolled back in school and, instead of global warming terror, seems to delight in disrupting lessons by making his teachers look incompetent.

Winner of the top prize in its native Switzerland, director Fredi M. Murer’s delightfully quirky film was the country’s official Oscar submission for the Best Foreign Language Film category. Unfortunately, film, much like the music Vitus plays on his trusty piano, depends on rhythm and pitch and Fredi M. Murer’s movie begins to unravel during its second half as the tone changes and the plot goes in an entirely different direction. In doing, so the audience is given little preparation for Vitus’s shift in priorities that come into question as his schemes get harder to believe, making the two hour running time feel much longer and allowing the melody of Murer’s cinematic music to fall completely out of tune as I felt that Vitus the film was in desperate need of one of the hearing aids Vitus’s inventor father makes for a living. Although the notes begin to falter, the film seems to gain its second wind for a stirring coda that manages to reward both the audience and its pitch perfect cast with an earned and truly uplifting finale.

Nancy Drew

Director:
Andrew Fleming

To sleuth or not to sleuth, that is Nancy Drew’s question in this utterly delightful big screen adaptation of Carolyn Keene’s beloved series of Nancy Drew Mystery Stories that began with The Secret of the Old Clock. Set in modern day America, teenaged Nancy (the adorable Emma Roberts) is the brightest gumshoe unofficially associated with the River Heights Police Department who never loses her cool whether it’s diffusing a bomb with a cool head or engaging in an automobile chase while strictly adhering to the speed limit.

After her life is jeopardized in the film’s bravura opener, her widowed father Carson Drew (Tate Donovan) makes Nancy promise to give up sleuthing when they temporarily move to Los Angeles for his work. Sad to leave her good friend Bess and “very good friend” a.k.a. unofficial boyfriend Ned Nickerson (Max Thieriot) behind, Nancy finds abandoning detective work even tougher, especially given that she chose their rental home in Hollywood precisely because it’s the site of one of tinseltown’s most notorious unsolved mysteries surrounding the murder of the home’s former owner, gorgeous Audrey Hepburn like movie star Dehlia Draycott (Mulholland Drive’s Laura Elena Harring).

After a book on advanced sand castle making fails to hold her interest, Nancy gets back to her old ways enlisting the aid of her new twelve year old sidekick with a hopeless crush, Corky (Josh Flitter) and a jealous Ned who drives up Nancy’s beloved blue convertible to surprise her, and instead finds himself surprised to discover Corky, however he's predictably unsurprised to find Nancy playing girl detective once again. Armed with her sleuthing kit and with plenty of baked goods in tins ready to bribe anyone who may need a little convincing, Nancy nearly wears out her penny loafers and retro dresses (sewn from her mother’s patterns) as the case grows far more mysterious and dangerous.

Refreshingly, director Andrew Fleming (helmer of 2003’s The In-Laws) and his co-writer, the first time screenwriter Tiffany Paulsen, fight the temptation to make Nancy too modern and although she now has an iPod and access to the internet, she’s sweet-natured and wholesome as ever, winning over others with her sincerity despite becoming the source of ridicule from some of her more Britney Spears or Hannah Montana like classmates. As a former wannabe girl detective who spent hours in childhood pouring over Keene’s mysteries, I was nervous and skeptical to view what all probability suggested would be a failed adaptation given Hollywood’s insistence on sexualizing teen girls in countless grotesque comedies yet Nancy Drew is winningly old-fashioned, yet just like the books were to me in the late 80’s and early 90’s filled with ideas that celebrated female independence and ingenuity destined to make it even more accessible to teens who take the time to seek Drew out. A rare quality filled family picture with an impeccable characterization by Emma Roberts (niece of Julia) as our title heroine, Nancy Drew’s celebration of its girl sleuth may have even made Carolyn Keene proud.

My Kid Could Paint That

Director: Amir Bar-Lev

What constitutes great art? Is modern and abstract art simply a joke on the viewer? If anyone could grab a brush and splatter drops of paint on a canvas, does that make the work of Jackson Pollock less valid?

It’s a conversation I’ve had many times before with others and it’s one of the major questions that run throughout documentarian Amir Bar-Lev’s fascinating portrait of four year old Marla Olmstead who, a painter since she sat on her dining room table in diapers with a brush in her hand, became one of the world’s most popular abstract artists before she even set foot into preschool.

Given Marla’s undeniable passion for painting, her loving dental assistant mother Laura and hobbyist painter/Frito-Lay employee father, Mark encouraged her in her efforts and were surprised when, after Marla’s work was on display in a local coffee shop, Marla garnered the admiration and support of local painter Anthony Brunelli who was so impressed by Marla that he staged a show for the artist in his gallery. A local journalist specializing in articles on kids and family covered the Olmsteads and after the local Binghamton, New York newspaper piece was picked up by The New York Times, a media feeding frenzy was born that went from adoration to suspicion and controversy when 60 Minutes planted a hidden camera inside the Olmstead’s residence that seemed to indicate that young Marla was being coached by her father.

Were Marla’s works fraudulent? If they’re beautiful, does it really matter who paints them? Filmmaker Amir Bar-Lev was given unprecedented access to the Olmsteads for a year and it was about halfway through his documentary on the quiet, gifted young artist when media accusations were born and suddenly his film became something different altogether when there were enough scenes, conversations and arguments to have not only the average viewer but Bar-Lev who, by that point, had gotten very close to his subjects question the validity of the artwork and fingers began pointing in the direction of Mark Olmstead.

As Jason Guerrasio wrote in “The Unseen Hand,” published in the Fall 2007 issue of Filmmaker Magazine, “Regardless of whether you walk away from… [the] film thinking Marla does the paintings on her own or not, what My Kid Could Paint That definitely demonstrates is that our culture is obsessed with putting people on a pedestal and then gleefully knocking them off at the moment their talents are in question.”

Compelling and sharp with a modest running time of only eighty-three fast paced minutes, My Kid Could Paint That is the type of film you’ll want to discuss endlessly with friends but unlike most films about art, Bar-Lev is compassionate and earnest in never letting us forget that at the heart of the entire situation is an unquestionably lovable and creative little girl, who has been thrust into the spotlight at far too young of an age by not only the media but her family as well.