Film

Admission

Name: Admission
Genre: Comedy, Drama, Romance
Released: 2013
Cast: Tina Fey, Paul Rudd, Nat Wolff, Michael Sheen, Lily Tomlin

Drama

Tina Fey plays a buttoned-up Princeton admissions officer whose carefully ordered life fractures when her former flame suggests she may have found her biological son—who's decidedly not Ivy League material. It's a tender, funny film about identity and belonging that trusts its actors more than punchlines. Smart and warm without being saccharine.

TMDb rating

2.8

Should you watch it?

Watch it if you like grown-up romantic comedy where the jokes come from characters who are clever and a bit wounded, and where the warmth arrives slowly.

Skip it if you want a brisk, gag-driven comedy, since this one lingers on hesitation and quiet conversations and rarely pushes for big laughs.

What it asks of you: Its shape is unhurried and talky, running just under two hours and drifting between gentle and wistful; it rewards patience while people circle what they feel.

Not sure? Find tonight's pick in a minute.

If you liked this

The Parent Trap1998

A joyful, well-crafted story about identity, family, and the people we become. Lindsay Lohan is luminous in both roles, and the film never mistakes sentiment for manipulation. Pure pleasure.

But Markedly lighter in tone—this is escapist Disney, not a character study. If you want grounded adult drama, this swings harder toward fantasy.

Terms of Endearment1983

A multigenerational exploration of motherhood, obligation, and love that moves between comedy and devastating sincerity. Shirley MacLaine and Debra Winger create something indelible. This is the gold standard.

But It spans decades and pivots into genuine tragedy. Not everyone wants their romantic comedy to end in a hospital room. Heavy lift.

About a Boy2002

A sharp, funny film about a man forced to grow up and a boy hungry for connection. Hugh Grant and Nicholas Hoult have real chemistry, and it finds humor and heart in the same moments without cheapening either.

But The tone is deliberately uneven—it whipsaws between flippancy and vulnerability. Some find that exhausting rather than affecting.

Not sure tonight? Get a pick in a minute, starting from Admission

The wildcard

Something you would not have found on your own.

Juno2007

Both films center on adoption and maternal identity but arrive from opposite angles—Juno follows the birth mother through her decision, Admission follows the adopting mother discovering her biological child. Thematically symmetrical and equally intelligent about the complexity.

Ellen Page gives a transformative performance as a pregnant teenager navigating adoption, family, and self-discovery. It's funny and tender without ever condescending to its protagonist. The script is genuinely original.

But The precocious dialogue and indie-movie aesthetics feel dated now, almost embarrassingly so. The tone can seem glib about serious subjects. Worth the risk, though.

Gilmore Girls2000

Seven seasons of witty, rapid-fire dialogue about mothers and daughters finding their way. It's comfort television that respects your intelligence and never sacrifices character for a joke. Endlessly rewatchable.

But The verbal stylization becomes a genre unto itself. If you find the patter affected, you'll never get past it. Also, the revival film is polarizing.

Obvious Child2014

A sharply written film about a comedian processing a difficult choice with humor and humanity. Jenny Slate is magnetic, and the film treats its characters as whole people, not issues. Funny and real.

But It's deliberately low-stakes in style, which some mistake for low-impact. The indie aesthetic won't appeal to everyone. And its subject matter remains contentious.

Life as a House2001

Kevin Kline and Hayden Christensen give genuine performances in a film about fathers, sons, and second chances. It's unashamed about its sentimentality and earns every moment of it. A real tearjerker.

But The earnestness can feel dated now. Some will find it melodramatic rather than moving. It doesn't have Fey's satirical edge.

Rabbit Hole2010

Nicole Kidman and Aaron Eckhart navigate grief with bruising honesty. It's quiet, spare, and devastatingly intelligent about how loss reshapes families. Genuinely moving without ever performing emotion.

But It's slow and contemplative—nothing happens in the traditional sense. Requires patience and emotional availability. Very sad.

The Comeback2005

Lisa Kudrow plays a delusional actress in mockumentary form—absurdist, cringe, and hilarious. It's unconventional comedy that rewards close viewing. Fey would recognize the ambition here.

But The humor is deliberately awkward and unpleasant. If you prefer your comedy warm, this will feel mean. Also short-lived, so limited reward.

Dan in Real Life2007

Steve Carell falls for his brother's girlfriend in a Rhode Island autumn. It's a romantic comedy that takes its emotional complications seriously and finds genuine laughs in real conflict. Beautifully shot.

But The central premise is ethically murky and never quite resolved to satisfaction. Wants to have it both ways. The film's charm can feel thin on a second viewing.

Lean on Pete2018

A story about a young person and an adult who form an unexpected connection outside traditional family structures. Both films ask what family actually is once you strip away biology and convention. Lean on Pete goes much darker.

Charlie Plummer is extraordinary as a drifting teenager who bonds with an aging racehorse. It's quietly devastating about loneliness, abandonment, and unexpected family. Anchored by genuine feeling rather than plot mechanics.

But Deliberately paced and austere—nothing is explained or resolved neatly. The ending offers no catharsis, only acceptance. Some find it too bleak for comfort.

Beginners2011

Both films are essentially about adults reckoning with surprising truths about their parents and what that means for their own identity. But Beginners approaches it through fantasy, animation, and formal experimentation—it's the art-house cousin to Admission's mainstream warmth. Same emotional core, completely different language.

Mike Mills directs Ewan McGregor in a sophisticated, formally daring meditation on identity, sexuality, and the stories we inherit from our parents. It's playful and profound—rarely seen together. Gorgeous to watch and genuinely moving.

But The narrative is fragmented and deliberately elliptical. If you want linearity and clear resolution, you'll be frustrated. Demands active viewing and emotional generosity.