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Little Miss Sunshine | |||
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SHADOWS ![]() | ||
R E V I E W B Y R I C H C L I N E |
dir Jonathan Dayton, Valerie Faris scr Michael Arndt with Greg Kinnear, Toni Collette, Steve Carell, Alan Arkin, Abigail Breslin, Paul Dano, Beth Grant, Wallace Langham, Paula Newsome, Bryan Cranston, Julio Oscar Mechoso, Matt Winston release US 26.Jul.06, UK 8.Sep.06 06/US Fox 1h41 ![]() The Hoovers hit the road: Collette, Breslin, Arkin, Dano, Carell and Kinnear ![]() ![]() ![]()
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![]() The Hoover family is a rat's nest of expectations and awkwardness. Richard (Kinnear) can't get anyone to notice his nine-step Refuse to Lose programme, while Sheryl (Collette) can't get her family to be honest with each other. Nietzsche-obsessed 15-year-old Dwayne (Dano) has taken a vow of silence until he escapes to the Air Force, and too-normal 7-year-old Olive (Breslin) is determined to win a beauty contest in Los Angeles. Add Richard's foul-mouthed dad (Arkin), evicted from his nursing home for using heroin, and Sheryl's Proust-scholar brother (Carell), recovering from a suicide attempt. It's a long drive to L.A. There are a couple of contrived missteps in the story, but the film otherwise treats its quirky characters as real people. The opening dinner table sequence is a brilliant jumble of everyday humour and sarcasm tinged with uncomfortable silences and barely submerged misery. We quickly understand these people's desires and loathings, their private vices and deep-rooted affection, and the way they get on each others' nerves. In other words, it's a bracingly recognisable family. The actors dive headlong into their roles. These are messy, obsessive people who know each other far too well. Collette holds the family together with a brilliantly detailed performance, while Kinnear plays to his strengths as a severely compromised good buy. Arkin has the scene-stealing foul-mouthed grandpa role, but avoids cliches at every turn. Carell plays effectively against type as a guy trying to rediscover the will to live. And both Dano and Breslin are simply perfect. Even the small side characters resonate. Despite some corny plot turns, the film remains firmly grounded, finding humour in honest interaction and authentic personalities. We can identify with each person in the story--especially the way they all have dreams far bigger than they are. And directors Dayton and Faris mine the comedy and emotion in each scene without ever going for the obvious. Family comedies aimed at grown-ups just don't get better than this.
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© 2006 by Rich Cline, Shadows on the Wall
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