The Hoover household is something of an insane asylum but nobody would ever knowingly hurt anyone except him- or herself. Richard (Greg Kinnear) is a deluded optimist and motivational speaker who only motivates himself. His wife Sheryl (Toni Collette) unwittingly reinforces his behavior by placating him and hiding her frustration. Sheryl’s dad (Alan Arkin) an acid-tongued old-timer who’s hooked on heroin and brother (Steve Carell) a gay suicidal Proust scholar who is the epitome of the “crazy uncle” cliché are also aboard the crazy train. Richard and Sheryl’s son Dwayne (Paul Dano) is a Nietzsche follower who only communicates with his family by writing. Then there’s the daughter Olive (Abigail Breslin) the family’s glue. All she wants is to compete in the Little Miss Sunshine beauty pageant so the Hoovers all load their baggage onto the family’s VW bus--which barely runs--and embark on a long bumpy ride to California.
If only there were a Best Ensemble Oscar Sunshine’s cast would…get snubbed for being too quirky but still. And by constantly upstaging one another the actors may have further hurt their chances. It is this no ego effect however that is central to the movie’s theme and success. While all the performances are nothing short of superb the three showstoppers are Collette Carell and Breslin. Aussie Collette continues her brilliantly understated career with this turn as a well-meaning Everymom who ultimately only wants to nurture her family. Carell perhaps the only one with a fighting chance at an Oscar nod shows us why he’s really a megastar: he can act with a complete about-face from his usual roles as evidence. (Lest we forget this is a guy who up until recently was a fake-news correspondent!) And Breslin (Signs) is simply an amazing young talent who provides all the wide-eyed caffeine the film needs and then some but does so with precious maturity. It’s as if she inspired the title. There’s a quirky behind-the-scenes story too: Sunshine’s directors--plural--are married to one another! Husband-and-wife duo Jonathan Dayton and Valerie Faris are widely known music-video directors but not the type who would make their big-screen transition with something like say Torque; thankfully they chose substance over style. If not for these very gifted directors Sunshine could’ve come unhinged where so many pedestrian “dysfunctional family” indies do: by turning the characters each with a laundry list of defining quirks into caricatures. But thanks in equal parts to the direction acting and flawless script (from first-timer Michael Arndt) there is so much truth to each character. Most notable though is the linear nature of the story; these directors clearly don’t need swooping twists to convey their themes and profundity and that is rare and remarkable. The climax with which it all culminates can only be described as unforgettable.
It’s Halloween Eve in suburbia and while most of the neighborhood kids are gearing up for a candy extravaganza two young‘uns--DJ (voiced by Mitchell Musso) and Chowder (voiced by Sam Lerner)--are fretting and dreading. They’re convinced that the decrepit house across the street is in fact a monster house inhabited by an old hermit named Nebbercracker (voiced by Steve Buscemi) that will lure kids in on Halloween night. But just as DJ’s parents who naturally don’t believe him to begin with leave for a vacation DJ inadvertently sends Nebbercracker to his death--or so he fears. Now DJ believes Nebbercracker’s monster house will seek revenge on him specifically and to make matters worse his negligent babysitter (voiced by Maggie Gyllenhaal) won’t hear of his yapping. After DJ and Chowder are forced to take action they along with a girl peddling candy (voiced by Spencer Locke) discover how the monster came to be and just how unforgiving she is. When it comes to animation acting the main goal is to make audiences forget that the actors are giving their performances in a studio possibly dressed in their PJs and sans makeup. That goal’s usually achieved but Monster House takes a gamble in supposing that child actors comprising the lead characters will be able to wrap their still-expanding brains around the concept. Somehow Lerner and Musso grasp this despite sounding like they haven’t even been in this world very long! The two are surrounded by a fail-proof supporting cast: it takes a while to recognize Buscemi’s voice as Nebbercracker but once it hits it fits and Gyllenhaal as the babysitter is great if unpredictable casting. Quasi-cameos from Jason Lee as Gyllenhaal’s punk boyfriend Jon Heder as a video-game god and Kevin James and Nick Cannon as slow-moving and -thinking cops garner the most laughs. Not only does it help a film’s box office performance to have Steven Spielberg and Robert Zemeckis onboard as executive producers it helps a film’s director--in this case a rookie director named Gil Kenan. (Zemeckis directed ‘04’s somewhat similar-looking The Polar Express.) While the animation doesn’t quite stand up to say Pixar’s earth-shattering visuals Kenan makes up for it with a fun-filled story (from scripters Dan Harmon Rob Schrab and Pamela Pettler) and an overall lively involved effort--and it’s not like the movie doesn’t still look gorgeous. Besides sometimes it’s refreshing to not be so entranced by the CGI that you lose sight of the actual movie at hand. Kenan’s film is one of the scarier animated movies in a while but that still doesn’t exclude many age groups. What the first-time director thrives on is stopping just shy of true horror moments at which point he reverts to feel-good mode without ever being sappy.
A guy who usually doesn't have luck with the ladies Matt Saunders (Luke Wilson) has finally found the perfect girl. Egged on by his buddy Vaughn (Rainn Wilson) Matt pursues the mousy and innocent-looking Jenny Johnson (Uma Thurman) after the two meet on a subway. But Jenny has a few secrets--and what Matt doesn't know in this case can hurt him. See Jenny is really G-Girl a superhero and although it's a side most superheroes don't show G-Girl is a bit possessive and essentially has a borderline personality. So when Matt wants to dump her so he can go out with his quiet and cute co-worker Hannah (Anna Faris) Jenny er G-Girl goes ballistic. She unleashes her superpowers on Matt and unsuspecting Hannah doing things like throwing a shark through his window while they're making out tossing his car around immature things like that. What Matt doesn't do is obey the cardinal rule: Never break up with a girl when she's holding a knife--or when she can throw you through a wall by blowing on you. This should be Luke Wilson's moment to shine and he seizes it. He's had little chance to break away from his goofier-looking and more popular brother Owen and has never carried a movie as much as this one. It's perhaps his meatiest role in which he gets to show a restrained comedic side as well as a dramatic angry and perplexed side. Although it's a typical romantic comedy plot the storyline allows for more reach because of the absurd nature of the jealousy by G-Girl’s arch nemesis Professor Bedlam played perfectly by Brit comic Eddie Izzard as well as the persistently bad advice from Matt’s friend Vaughn played by scene-stealer Rainn Wilson (TV's The Office). Rainn is a definitely a talent to watch out for. Unfortunately Thurman is the biggest disappointment. She's exciting only when she rekindles her Kill Bill persona but is mostly outshined by the cute and fun Anna Faris who's so naively brilliant in the Scary Movie spoofs. Expectations would have to be high if you have director Ivan Reitman on board the guy behind such classic comedies as Animal House Ghostbusters and Dave. Perhaps that's why it's so disappointing--and so very familiar. The comic moments are retreads from the past. Sure we've seen the odd moments where mortals make it with super-human characters--Superman II Bewitched I Dream of Jeannie--and every once in a while the character with super powers gets a bit peeved and goes off the deep end. The best contribution Reitman makes is to keep the over-the-top comedic aspects in check. He doesn’t have the actors play it for laughs. But if you look at past history female superhero movies don't seem to do well at the box office (Elektra and Catwoman anyone?) maybe because guys don't like to take dates to see movies about women who will kick their butts. And guys will be cringing in their seats BIG time when Jenny is trying to analyze the real meaning of the color of a rose that she just got. "Red means that you're in love with the girl. Of course I'm not trying to pressure you." Ugh! Just take the flower.