A long-form sitcom overly pleased with its own progressiveness, The Kids Are All Right charts the difficulties that arise when the kids of a lesbian couple seek out their sperm-donor father. Nic (Annette Benning) and Jules (Julianne Moore) are a gay Oscar and Felix, and after almost two decades, their marriage has lost a spark (not even the man-on-man porn they watch together gets them hot and bothered!). Curious about the guy who helped conceive them, the couple’s kids – college-bound Joni (Mia Wasikowska) and rebellious Laser (Josh Hutcherson) – locate donor daddy Paul (Mark Ruffalo), a free-spirit lothario who runs an organic restaurant and whose appearance throws the family for a loop. Joni and Laser’s reasons for reuniting with Paul speak to their sexual maturation (in Joni’s case) and desire for a father figure (in Laser’s case), all while practical button-upped Nic frets over Paul usurping her alpha-dog authority and hippie-dippie Jules screws Paul behind Nic’s back. Oh, what neat-and-tidy complications plaguing these San Francisco clichés! Nic drinks too much and starts fights, and Jules deals with a stupidly grinning Hispanic gardener employee who knows about her adulterous ways, scenarios that writer/director Lisa Cholodenko milks for Everybody Loves Raymond-grade humor. Predictably, lifeless wittiness gives way to broad bathos, with everyone eventually growing closer through familial upheaval. Throughout, Cholodenko’s plotting is so formulaic, her cast’s performances are so blandly competent, and her humor is so wannabe-racy (Benning: “I want your advice like I want a dick up my ass!”) that the film can barely mask its middlebrow pandering to liberal sensibilities. Self-congratulation oozes out of The Kids Are All Right’s portrait of a lesbian household that’s just like everyone else’s, though in a sense, it is, what with these stock characters proving to be just like the intolerable two-dimensional caricatures on your average half-hour CBS comedy.