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.
Zak Gibbs (Jesse Bradford) finds what looks like a wristwatch while scavenging through a box of his father's junk. What he doesn't know is that the watch is actually a device that makes its wearer move so quickly that the rest of the world appears to be moving in slow motion. The device was sent to his father (Robin Thomas) a science professor and dilettante inventor by a former student (French Stewart) who is being held captive by an evil corporation. Now the evildoers want their watch back and kidnap the professor while Zak unaware that his father is in grave danger runs around town with a cutie pie exchange student (Paula Garces) freezing time. Of course the two teens eventually join forces and save the day. Not only is the film's plot is so unbelievably implausible the characters are ridiculously typecast. The most insulting is Zak's black friend Meeker (Garikayi Mutambirwa) who dreams of winning a DJ competition. Eager to help him win Zak and his gal pal go into hypertime and make like puppeteers moving Meeker's arms and legs so that in real time it appears as though he's a good dancer.
Jesse Bradford (Bring It On) is the most redeemable thing in this film. His character Zak is a conventional teen who is smart but not brilliant and clever without being a hero. But unfortunately Bradford is stuck in this mess of a movie acting alongside the pretty but frothy Paula Garces. Like most girls in the movies nowadays her character Francesca de la Cruz is a vixen that cleverly puts guys in their places and can single-handedly beat up a villain. French Stewart is Dr. Earl Dopler the watch's creator. Although his brainy character is the opposite of his airheaded Harry on Third Rock From the Sun Stewart seems like he is the same persona simply reading a different script. Robin Thomas (The Contender) and Julia Sweeney (Whatever It Takes) play Zak's parents. Both are pretty standard fare: Thomas the parent married to his work at the expense of his relationship with Zak while Sweeney is a regular June Cleaver type.
Why Jonathan Frakes better known as Commander Riker on Star Trek: The Next Generation or anyone for that matter would put their names on this project is unfathomable. From the hideously flashy and noisy opening credits to the predictable denouement Clockstoppers is about as entertaining as nails scraping against a chalkboard. The ridiculous story accompanied by flimsy special effects was penned by too many writers to mention. This may explain the massive plot inconsistencies--are they not supposed to count because this film is aimed at younger viewers? At one point Zak comes to the realization that for others to come in and out of hypertime they must be touching him. But there are several instances throughout the film that clearly contradict this. The watch also makes its users age rapidly but seems to spare Zak his friends and the evildoers of this fate. And is there no gravity in hypertime? Zak and Francesca were able to toss Meeker around the stage like he was weightless. And is Meeker a typical cheery Jamaican caricature with thick dreadlocks in the film for no other reason than to offend? His character disappears halfway through the film after being redeemed by his white rescuers.