Little Miss Sunshine

2006

Comedy / Drama

Little Miss Sunshine (2006) download yts

223

Rotten Tomatoes Critics - Certified Fresh 91%
Rotten Tomatoes Audience - Upright 91%
IMDb Rating 7.9 10 353063  

Synopsis


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Cast

Abigail Breslin as Olive Hoover
Bryan Cranston as Stan Grossman
Steve Carell as Frank Ginsberg
Toni Collette as Sheryl Hoover
720p
650.39 MB
1280*720
R
23.976 fps
1hr 41 min
P/S Unknown

Movie Reviews

Reviewed by Christopher T. Chase 9 / 10

One Of The Best Movie "Gifts" I've Gotten This Year...

It is very rare to see a movie that can charm the hell out of an audience without the use of special effects, worn-out clichés and bombastic action set pieces these days. It's even more ridiculous to hope that you will see such a film for FREE. But that's exactly what happened to me tonight at a sneak preview of LITTLE MISS SUNSHINE.

I "discovered" this movie right here at IMDb, having heard not a peep about it beforehand. By the time I finished watching the second trailer for the THIRD time, I was floored...and hooked. Luckily, the Bulletin Boards steered me toward the proper link to access sneak passes for tonight's showing, and all I can say is that it will not pain me one bit to pay for the privilege of seeing this gem a second time.

Assembling the best and most unlikeliest of ensemble casts you may probably see all year, SUNSHINE on the face of it is a relatively (pun intended) simple story. Little seven-year-old Olive (Abigail Breslin) has one wish in life: to be considered for the finals of the Little Miss Sunshine Pageant in Redondo Beach, CA. When her big chance comes at the most unexpected time, it's up to her unbelievably fractured family to pull themselves together and make it happen for her, no matter what it takes.

And what it takes is a sad, painful, tragic and yet unendingly hilarious trek in a barely operational VW bus from Albequerque, NM to the Pageant. And although getting there is only half the fun and family drama, you have got to see what happens to believe it when they finally arrive and Olive gets to "do her thing." The strong cast sounds not a single false note, and when the more touching moments arrive, they don't seem forced the way they would in most other big-budget behemoths, because these moments are truly earned. But WHAT a collection of characters this is. Greg Kinnear is letter-perfect as Olive's judgmental, failed motivational-speaker father; Steve Carell finds new shades of darkest despair and human comedy as her suicidal gay uncle, a leading Proust scholar; Paul Dano does amazing things with little more than facial expressions as Olive's older brother who's deep into Nietzche and a vow of absolute silence, and Alan Arkin, though he has played this kind of role with both hands tied behind his back and his eyes closed, still shines like a crazy diamond as her cantankerous and hedonistic grandfather.

And barely holding this motley crew together is Toni Collette, who amazes by playing a mother again and yet manages not to portray the role exactly the same way, (you might recall her Oscar-nominated turn as Haley Joel Osment's put-upon mom in THE SIXTH SENSE.) I'm not at all familiar with the work of the two directors, Jonathan Dayton and Valerie Faris, or the writer, Michael Arndt, but they have definitely raised the indie film bar with this effort. Not a single moment is wasted; not a single scene is in this film without having a reason for being there, and it's all character-driven. There's also nothing fluffy about it - commentary about everything from how twisted our pop culture can be, to how our drive for being #1 winners can blind us to all of the things that are the most important are all there under the bittersweet laughs and tears for the audience to discover.

I can't recommend this one highly enough. And I can't wait to see it again.

Reviewed by imaginarytruths 9 / 10

a scathing black comedy that is also emotionally resonant, pro-family, and joy-inducing

I hate to admit it, but my primary interest in showing up for the screening was to see Steve Carell try his hand at a semi-serious role as the suicidal gay literature professor.

But it's not Steve Carell's film. It's a startling departure for him, a nuanced and heartfelt performance that's just as strong as his career-making turn in 40 Year Old Virgin. Likewise, this film does not in any way belong to Toni Collette, Greg Kinnear, or Alan Arkin, all of whom are at the absolute top of their games and each of whom is allowed many moments within the ensemble structure to create a complex and compelling character. Hell, the film doesn't even belong to Paul Dano, who's just as good as his more experienced co-stars even though he doesn't have a single line of dialogue in the first 80% of the movie.

No, this film is owned wholly and entirely by a nine-year-old actress named Abigail Breslin. I think a lot of viewers might miss it because she's surrounded by enormously talented performers and is "golly gee whiz" "aw shucks" cute, but this performance is, all hyperbole aside, Oscarworthy. The entire film hangs on her emotional vulnerability and she is achingly real in every moment of joy, sorrow, confusion, desolation, and determination. The closest comparison I can think of is Amy Adams in Junebug. She's that good.

OK, I seem to be writing this review backwards. Let's see if I can pull together a plot description. The film is basically a dark comedy dysfunctional family road trip. It starts out resoundingly bleak. Richard (Kinnear) is a wannabe motivational speaker who in his desperate drive for excellence has become deeply alienated from his family. His wife Sheryl (Collette) tries to keep their family together but is so frustrated with her husband and nerve- shredded by the stresses of her home that it seems like she will cave in at any moment. Also in the home is Steve's elderly father, who is perpetually profane and angry and copes with the disappointments of his life by snorting heroin. Richard and Sheryl are raising two children, the cute but seemingly unremarkable Olive (Breslin) and the perpetually silent, glum, and angry Dwayne (Dano), who is marking off the days until he can go join the Air Force and escape this familial hellhole. Into this enclave of joy and bliss enters Sheryl's brother Frank, who has just been released from the hospital after trying to slit his wrists due to his unrequited love for one of his grad students. When Sheryl tells her brother that she's glad he's alive, he tonelessly responds "that makes one of us."

These are the characters. I know they must seem like pathetic indie stereotypes, but over the course of the film each of them is revealed as a multi-dimensional person struggling miserably but nobly to make the best of a life that is not working out the way they had hoped. And despite the gloomy set-up, this twisted thing becomes the most life-affirming film I've seen since Eternal Sunshine of the Spotless Mind.

It's not a perfect film by any means. At times it feels a little contrived, as if several years of trauma were compressed into two days. And while the climax undeniably represents the most ruthless skewering of beauty pageants in the history of cinema, skewering beauty pageants doesn't in itself really qualify as daring satire.

Nonetheless, the film packs an emotional wallop that's going to take a lot of people by surprise.

And I haven't even mentioned that it happens to be the funniest movie of the year.

Reviewed by boredhousewife-1 10 / 10

The story of a young girl who wants to be in a beauty pageant.

I went to a screening of this film at Sundance earlier this year, and this is what I wrote about it immediately following:

This was a little less indie, cast-wise, but was jarringly real in a way that Hollywood rarely fosters. The story is of a limply-functional family, whose good leg is dysfunctional, and of the way that their love for each other is solid, somewhere underneath the varying shades of crazy. This film. Oh, this film! I have never laughed harder, and at such true-to-life comedy--nothing silly or goofy or forced or fake about the lines. It felt more like watching a documentary (minus all the familiar faces) and every time the laughter became almost unbearable, a little dash of agony or melancholic sadness was thrown in, and spawned aching tears. I sigh still, thinking of how completely in control of my insides that cast, that writer, that director all were. They owned my ass, and I will love them forever for it.

I can't wait to see it again. Do NOT miss it.

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