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.
Dave Chappelle is a Hollywood anomaly. Not only because the comedian felt his soul was worth more than $50 million (the reported amount he walked away from when he left his Chappelle's Show) but also because he lives worlds apart from the place--literally and figuratively. In Block Party not a moment is spent trying to go deep inside the man behind the comedy yet that much is ascertainable. The documentary tells instead of his September 2004 mission to organize a rap/R&B block party/concert in Brooklyn and hand out the event’s "golden tickets" at random to people in his Dayton Ohio community. It cuts back and forth between concert footage with his standup and the often-funny events that precipitated it. Those hoping for some sort of mea culpa will be disappointed (and should be ashamed); rather it's Chappelle's show seemingly the way he wanted Chappelle's Show. While Block Party obviously contains no acting there is a bevy of performers. The catalyst of course is Chappelle and as he did so well on his show he turns mundane observations into knee-slapping hilarity—thanks in no small part to his infectious laugh that follows everything he says. He also plays the part of hip-hop goodwill ambassador both reuniting groups and diversifying the lineup. His tastes and schoolboy enthusiasm might even be enough to endear the hip-hop naysayer. See he prefers artists who are progressive--artists who say something punctuated by actual live music! Acts like The Roots Kanye West Common Erykah Badu Jill Scott Mos Def Talib Kweli Dead Prez and a reunited Fugees--the film’s climax if you will--make theater dancing all but unavoidable and massacre stereotypes. And they're all Chappelle-approved for an extra layer of authenticity. Block Party perfectly pairs subject with director. Michel Gondry--best known as director of Eternal Sunshine of the Spotless Mind--has a voyeur’s curiosity an artist’s eye for aesthetics and an ear for left-of-center music (he is also an acclaimed music-video director). He is not interested in somehow exposing Chappelle to his legions of fans and few detractors but he does touch on something that might surprise: Chappelle with his genuine benevolence seems just as content to get a smile as he does a laugh. Such is the case when he invites an entire college band to come play at his block party and pays their way; or when he pleases the crowd by assembling the aforementioned eclectic mix of musical acts groups which might’ve gone their careers without appearing together. But what Gondry captures best is this freak of nature who’s so maddeningly candid in front of a camera.