Each in his own way, The king's speech and The kids are well intentioned stories, the kind that academics are so fond, a story of personal growth, with defense of friendship including in the first case, and a reinforcement of family values, although it comes represented by a modern family-two lesbian mothers with their offspring resulting from artificial insemination, "in the second. But leaving aside what they might mean in more ideological level, purely cinematic values \u200b\u200bare beyond question. From his masterful score composed by Alexandre Desplat, do not understand why the statue-the duel interpretive Colin Firth and Geoffrey Rush, The king's speech leaves the appearance of historical genre epic to narrate a story as intimate as the King George VI and his efforts to overcome a stuttering problem that makes each of his speeches in a problem " state. " Tom Hooper conducting abuse avoids sentimentality and commitment, however, by relying on the impressive capacity gesture of his two main actors, we must not forget the large secondary cast headed by Helena Bonham-Carter, to convey the emotion in each plane and achieve some memorable scenes. The objective is fully achieved: the person comes first, hence the king and acquire speech therapist at the end of the tape the same moral status and discuss face to face, as two friends in search of a distant goal and expensive. To calibrate in perspective the film, I recommend viewing the original version.
The kids are good surfing areas rather unusual argument: son and daughter of a lesbian couple decide to meet the sperm donor who made it possible
his birth, his "father" anonymous final. This is an attractive thirtysomething untethered sentimental and entrepreneur, whose interference in the closed family circle at times distorts the happy coexistence home to become a father figure and friend of flesh and blood for two children and ardent lover of the mother played by Julianne Moore. Without great fanfare style, the film works alternating dramatic and comic episodes supported by a great cast. The happy ending is perhaps too predictable, but considering the average quality of U.S. production, we can not complain too much. 
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