I had to smile at the legend before the end titles - "A Jodie Foster Film" - one movie and she's an auteur! Nevertheless, this is an accomplished well acted, "little" film looking at the gift-cum-curse of being a gifted child in a largely misunderstanding world.
To be fair, the movie looks little more than a better-than-average TV movie, but is elevated by its director's star turn in front of the cameras, plus some neat little (that word again!) directorial flourishes, like a slow cutaway into the distance of Foster's workaday waitress Dee Tate's mother/son dance with young son Fred and at other points interesting suffusions of light and animation to perhaps demonstrate the surging thought process of the precocious infant.
The narrative gets a little skewered as Fred is adopted by a wealthy philanthropist female, childless naturally, whose feelings quickly move from professorial to matrimonial and a too obvious conflict with Foster's more down-home mother love. Some of the situations are a little too pat also, for instance the way that Fred cleaves to older boys, one a maths prodigy himself, the other a piano-playing college boy (played by a young Harry Connick Junior), the lad obviously groping emotionally for a male bonding relationship with his natural father nowhere around.
Freak occurrences too like Connick's initial encounter with Fred (symbolically dropping the whole world on his shoulders!) and a side-lined Foster's rescue of a drowning child just as Fred's making an appearance at the professor's side on national TV also jar credulity a little and of course sentimentality rears its largely unwelcome head before the happy ending, but I'm perhaps being too severe on what is when all is said and done, a warm, family entertainment on an off-beat subject.
To be fair, the movie looks little more than a better-than-average TV movie, but is elevated by its director's star turn in front of the cameras, plus some neat little (that word again!) directorial flourishes, like a slow cutaway into the distance of Foster's workaday waitress Dee Tate's mother/son dance with young son Fred and at other points interesting suffusions of light and animation to perhaps demonstrate the surging thought process of the precocious infant.
The narrative gets a little skewered as Fred is adopted by a wealthy philanthropist female, childless naturally, whose feelings quickly move from professorial to matrimonial and a too obvious conflict with Foster's more down-home mother love. Some of the situations are a little too pat also, for instance the way that Fred cleaves to older boys, one a maths prodigy himself, the other a piano-playing college boy (played by a young Harry Connick Junior), the lad obviously groping emotionally for a male bonding relationship with his natural father nowhere around.
Freak occurrences too like Connick's initial encounter with Fred (symbolically dropping the whole world on his shoulders!) and a side-lined Foster's rescue of a drowning child just as Fred's making an appearance at the professor's side on national TV also jar credulity a little and of course sentimentality rears its largely unwelcome head before the happy ending, but I'm perhaps being too severe on what is when all is said and done, a warm, family entertainment on an off-beat subject.