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Trading Mom

Trading Mom is a 1994 American written and directed by Tia Brelis in her feature directorial debut, adapted from the children's novel The Mummy Market by Nancy Brelis, the director's mother. The story centers on three siblings—Elizabeth (Anna Chlumsky), Jeremy (), and Harry (Asher Metchik)—who, frustrated with their strict single mother (), discover a magical spell that allows them to banish her and visit a fantastical "Mommy Market" to select a replacement. After trying out several eccentric maternal substitutes, the children realize the value of their original family bond and work to bring their mother back. Produced by and filmed primarily in , the movie blends family-friendly fantasy with themes of appreciation for parental sacrifices, earning a PG rating for its whimsical tone and light-hearted humor. Released theatrically on May 13, 1994 (82 minutes), by , it received mixed reviews from critics, with praise for its charming premise and young cast but criticism for uneven pacing, ultimately grossing modestly at the . The film holds a 5.4/10 rating on based on 2,351 user votes (as of 2025) and is noted for its positive message about family unity.

Development

Literary origins

The Mummy Market is a 1966 children's novel written by Nancy Brelis, the mother of the film's director and adapter, Tia Brelis. The book centers on three siblings—Elizabeth, Jenny, and Harry Martin—who grow frustrated with their strict and unsympathetic housekeeper while their mother is absent. Seeking a change, the children visit their eccentric neighbor, Mrs. Cavour, in her extraordinary garden, where she reveals a magical spell that transports them to the Mummy Market, a fantastical where mothers of various archetypes are available for trade. At the market, the siblings sample an array of mother types, including a saccharine type who smothers them with affection, a muscular outdoor enthusiast who drags them , and a child psychologist who analyzes their every move. Each trial highlights the imperfections of idealized , leading the children to appreciate their own situation and return home without selecting a replacement. Published by in 1966 and illustrated by Ben Shecter, the novel was aimed at young readers and explores themes of family dynamics, the grass-is-greener illusion, and the of parental roles beyond surface flaws. The book's whimsical fantasy framework and its moral lesson on familial appreciation directly shaped the screenplay for Trading Mom, providing the core premise of magical maternal exchange while emphasizing emotional growth.

Pre-production

The adaptation of Nancy Brelis's 1966 children's book The Mummy Market into the film Trading Mom was spearheaded by her daughter, Tia Brelis, who wrote the and made her directorial debut with the project. Drawing from stories her mother had told her during childhood, Brelis sought to transform the original tale into a whimsical tailored for family audiences, updating its sensibilities by amplifying the magical elements. Brelis modified the story by giving the children a strict instead of an absent one and a housekeeper, allowing exploration of direct parent-child tensions and themes of parental sacrifices. In developing the screenplay, Brelis introduced several key modifications to enhance the narrative's appeal, including greater emphasis on the relationships among the three young protagonists, portraying their interactions with more humor and emotional depth compared to the book's simpler dynamics, while expanding the fantastical sequences into lively, comedic spectacles of potential mother figures and adapting the quirky neighbor character (Mrs. Cavour, played by ) who reveals the existence of the enchanted Mommy Market to the children, thereby heightening the story's magical and comedic tone. The script was finalized in the early 1990s. Trading Mom was produced as a low-budget independent feature by , a distributor known for supporting modest-scale family-oriented projects, with serving as and Robert Little as . This financing approach allowed for creative freedom in early planning but constrained the scope to essential elements, focusing resources on practical effects for the Mommy Market and in , ahead of .

Production

Casting

Sissy Spacek was cast in the lead role of Mrs. Martin, the children's harried , as well as in multiple supporting roles as the alternative "mommy market" archetypes, including the nature-hiking outdoor enthusiast (Mom), the snappy (Mama), and the performer (Natasha). Her selection highlighted her versatility, allowing her to deliver a tour de force performance across contrasting maternal personalities in a single production. The child leads were portrayed by as the eldest daughter Elizabeth Martin, as the middle child Jeremy Martin, and his real-life younger brother Asher Metchik as the youngest Harry Martin. Chlumsky, coming off her breakout performance in (1991), brought established youthful appeal to the role, while the Metchik brothers' natural sibling chemistry enhanced the authenticity of the family dynamics. The casting director oversaw the selection of the young actors to ensure strong on-screen rapport among them. In supporting roles, veteran actress played Mrs. Cavour, the eccentric neighbor who imparts the magical spell to the children. appeared in his final film role as the circus strongman, a brief but memorable that infused the fantasy elements with spectacle; the scenes were filmed prior to his death in January 1993. Spacek's portrayal of the diverse mother figures necessitated extensive makeup and costume transformations, such as the clownish attire and facial prosthetics for the circus performer role, to distinguish each character visually.

Filming

for Trading Mom primarily took place in , during fall 1992, utilizing local residential homes to depict the Martin family house and custom-built sets to represent the fantastical Mommy Market. Filming commenced on September 8, 1992, and concluded on October 21, 1992, spanning approximately six weeks of principal production. The schedule incorporated standard restrictions on working hours for the child actors, Anna Chlumsky, Aaron Michael Metchik, and Asher Metchik, while coordinating special effects sequences for the market scenes, which required additional setup time. The production was helmed by first-time feature director Tia Brelis, who also wrote the , with by Buzz Feitshans IV providing a luminous, whimsical visual palette suited to the film's fantasy elements. Practical effects were employed for key magical sequences, including the incantation spell and the transformative Mommy Market environments, under the supervision of Cynthia Charette and Lisa Caperton. On set, , portraying multiple maternal archetypes, drew on improvisational techniques to infuse her performances with distinct comedic flair across the various roles. André the Giant's brief appearance as the circus strongman was carefully scheduled around his declining health from , marking his final on-screen role before his death in January 1993.

Release

Theatrical release

Trading Mom had its world premiere at the in March 1994. The film received a in the United States on May 13, 1994, distributed by . This rollout targeted select theaters, reflecting its modest scale, with an opening weekend gross of $68,570 that underscored the constrained distribution. The movie was marketed as a family-oriented , highlighting its whimsical premise of children visiting a magical "Mommy Market" to select a . Trailers prominently featured the central of the Mommy Market and Sissy Spacek's versatile performance in multiple maternal roles, aiming to appeal to young audiences and families. Promotion also leveraged the film's basis in Nancy Brelis's 1966 children's book The Mommy Market, encouraging tie-ins for child readers. Internationally, distribution was minimal, handled by Twentieth Century Fox for non-U.S. markets, with limited theatrical showings and subsequent airings in select regions. The film runs 82 minutes and carries a rating from the MPAA for mild fantasy elements and some barnyard humor.

Home media

The film was first made available for home viewing through a VHS release distributed by Vidmark Entertainment in the United States on September 28, 1994. This format served as the primary medium for consumers in the years immediately following its theatrical run, with a Canadian VHS edition issued by Malofilm Video on October 18, 1994. International versions of the VHS were released under the alternate title The Mommy Market, reflecting the story's book origins. A DVD edition followed in 1997, released by , offering improved video quality over the earlier tape but without additional special features or commentary tracks. As of November 2025, no official Blu-ray Disc version has been produced by any major studio, though unofficial or custom-pressed discs appear in limited online marketplaces. Digital streaming options have become available intermittently, with the film accessible for free on and for rent or purchase on . Beyond physical and digital formats, Trading Mom received frequent television broadcasts on the throughout the and into the 2000s, contributing to its enduring appeal as a family-oriented fantasy among younger audiences. These airings, often under its original title, helped cultivate a modest without elaborate home editions or promotional extras.

Reception

Critical response

Trading Mom received mixed reviews from critics, with praise centered on its whimsical premise and select performances amid broader disappointment in its execution. On , the film has a 43% approval rating based on seven reviews, averaging around 5/10. The limited number of reviews reflects its modest theatrical rollout, which garnered insufficient attention for a score. Critics highlighted Sissy Spacek's versatile turn in multiple roles as a standout, describing it as a "comical tour de force" that brought energy to the fantastical elements. The film's core concept of a "Mommy Market" where children can exchange their parent was often noted for its charm and fairy-tale whimsy, appealing to family audiences. Anna Chlumsky's performance as the eldest sibling was also commended for its enchanting quality, adding relatability to the young leads. However, many reviews faulted the uneven tone, weak script, and inability to blend fantasy with emotional resonance effectively. Gene Siskel and Roger Ebert gave it two thumbs down, calling it "depressing... too dreary and lame to be any fun," with awkward portrayals throughout, and Siskel selected it for their 1994 worst films list. Variety deemed it an "amicable if undistinguished" effort and a didactic fairy tale. The New York Times acknowledged the intriguing idea but criticized its adult-oriented perspective and failure to capture childlike imagination, noting that the substitute mothers felt unappealing and the fantasy lacked spark.

Box office

Trading Mom was released in limited theatrical distribution on May 13, 1994, across 40 screens, generating $68,570 during its opening weekend. The film ultimately earned a total of $319,123 at the domestic box office, which also represented its worldwide gross, underscoring its minimal international presence. As a low-budget independent family comedy distributed by Trimark Pictures, Trading Mom underperformed relative to expectations for the genre, with its sub-$100,000 opening highlighting the challenges of limited screen counts and modest marketing efforts. The 1994 summer season was dominated by major blockbusters such as The Lion King and True Lies, which drew audiences away from niche titles like this one and contributed to its poor turnout. Its specialized appeal to younger viewers further constrained broad commercial success. In the long term, the film's results precluded any significant development. Critical panning also played a role in its subdued performance.

References

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