Little Man Tate | Theater Critic's Choice | Chicago Reader

Little Man Tate 

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Jodie Foster's highly distinctive directorial debut, scripted by Scott Frank (Dead Again), gives us the year in the life of a boy genius (Adam Hann-Byrd) between his seventh and eighth birthdays. Foster herself plays his devoted working-class mother, and Dianne Wiest plays a child psychologist and former gifted child who fights for control of the little boy. This is largely played for comedy, and is often quite funny, but Foster also shows a great deal of sensitivity depicting the young hero's social isolation and weighing the respective strengths and limitations of the two women as parental figures. (There's virtually no father figure in sight, and part of what makes this movie so provocative is its discreet suggestion that one isn't necessary.) Visually bold and imaginative and wonderfully acted (Foster and Hann-Byrd in particular give fine, expansive performances without a trace of sentimentality), this movie is also graced by a very effective jazz score by Mark Isham that helps counterbalance an overschematic script. Not a total success, but strongly recommended; with Harry Connick Jr., David Pierce, Debi Mazar, and P.J. Ochlan. (Old Orchard, Webster Place, Bricktown Square, Water Tower)

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