Sonic Youth wrote:The secret weapon here is the barely mentioned score by Mychel Danna, who sounds relieved to get away from that somber Atom Egoyan already. This, more than anything else, give it the stamp of personality.
Sabin and I both mentioned the score in our original posts. I agree that it's one of the best things about the film.
Edited By flipp525 on 1174049072
"The mantle of spinsterhood was definitely in her shoulders. She was twenty five and looked it."
Unpopular Opinion no. 2: I thought Little Miss Sunshine was great fun, very engaging... at least for the first half. Halfway through, there's a serious drop-off, so overall the film is a disappointment, but after reading all your crying about how this signals the end of Western Civ. as we know it - something we looove to cry about - I expected drivel, but for the first 3/4 hour I saw what 92% of the critics saw, a funny, engaging film nicely building itself up as it went along. I'll have more to say tomorrow, but a few things to briefly address. The secret weapon here is the barely mentioned score by Mychel Danna, who sounds relieved to get away from that somber Atom Egoyan already. This, more than anything else, give it the stamp of personality. Complaints that this film is even less visually distinguished than 'Sideways' is bushwah. This is a far more interesting, almost elegant looking film than 'Sideways' was, in the contemporary set direction (althought 'Sideways' excelled in that area as well), the costumes, the spontaneity of each individual family member's activities, the non-staginess of the interactions (that opening dinner scene excepted), the yellow van shot as if it were practically a character all its own, and did I mention that music score? I know why people loved this. Besides, er... the score, it's not because people feel cool to snobbishly laugh at their perceived underlings, or because the movie panders to audiences with a simple notion that eccentricities are lovable aspects of a personality. It's a bit more serious than that, the age old conflict of protaganists dangerously teetering on the age of financial insecurity, a timeless theme in all art, and one audiences can relate to today.
So yeah, I really liked half of it. So what went wrong? That's for tomorrow... 'Night.
Artsy was probably the wrong word and I indicated my skepticism with quotes (") - I guess I was alluding more to the "Look at how indie we are! That makes this a REAL film" thing that helps otherwise lousy films like these.
Certainly the reviews were not as rapturous as the baffling goodwill that met Alexander Payne's awful Sideways, but generally yeah I think middlebrow critics liked this one. Ebert and Roeper both loved it and the Grand Pooh Bah himself gave it 3 and a half stars (good lord man!) NY Times Manohla Dargis gave it a positive review and the quintissential mainstream middlebrow hacks of online and print publications respectively - James Berardinelli and Peter Travers - both gave it three stars. A quick survey of Movie Review Query also shows a number of positive reviews and some raves.
Either way, I had hoped this horrid little thing would go away, but instead it has endured. Luckily the undeserving buzz over My Big Fat Greek Wedding did not translate into a Best Picture nod. Hopefully the same fate will meet LMS.
Akash wrote:Which of course means it will end up in Oscar's Best Picture slate. It happens every year with a self conscious, pretentious "artsy" film that I hate and middlebrow critics love. In 2002 it was The Hours, in 2004 it was Sideways, and this year it's Little Miss Sunshine.
I dislike Little Miss Nothing and pray to god that it does not receive a Best Picture nomination.
But I have to wonder if this film is pretentious and "artsy"? Seems to me Little Miss Nothing could have used a little more pretention -- it's practically weightless. And any film this ugly-looking is nowhere near artsy in my book.
Also, did middlebrow critics really love this film? Certainly not like they loved Sideways or The Queen. EW gave it a 'C,' I read a lot of positive reviews, but very few that gushed with adoration. It's really the public that has latched on to this film, making it an inexplicable word-of-mouth hit.
WGA and SAG nods seem certain; I have a fate the PGA will decide the Oscar fate of this film. (Although I believe My Big Fat Greek Wedding -- this film's closest relative in my book -- scored a PGA nod and barely made a blip at Oscar time, so even then its fate may still be up in the air.)
I couldn't agree more Sabin. I disliked this film even more than you did and I have no desire to see it again (even though I know often a repeat viewing is necessary to see how things hold up). I just found it facile through and through and self-consciously "indie", proud of its eccenticities which add up to...well, nothing really.
And I may be the only person on the planet not charmed at all by Breslin.
Which of course means it will end up in Oscar's Best Picture slate. It happens every year with a self conscious, pretentious "artsy" film that I hate and middlebrow critics love. In 2002 it was The Hours, in 2004 it was Sideways, and this year it's Little Miss Sunshine.
I totally understand why this movie is being hoisted up for award's consideration, and the reason that it's going to get nominated for Best Picture is because it looks so amazing on DVD and if they have to honor a small movie, it may as well be a small movie with A-list talent and a $10 mil budget. There's nothing small or indie about this movie.
I just saw it again. I wanted to like it more and for the first half hour, I was surprised as how much I enjoyed it. The screenplay is rather ingenious for the first act's duration. But ultimately it doesn't live up to its promise. Lots of the film works (the pushing-the-car gag, Alan Arkin's final scene with Abigail Breslin, the soundtrack, wonderful Abigail Breslin herself), but it makes far too many turns along the way that are not satisfying at all. Certain <ahem> departures are used simply to forward the screenplay where other inventions would be sorely appreciated, and there's really little appreciation for subtlety in the thing. I'm really baffled by the acclaim that Michael Arndt's screenplay is getting. It's a great idea that's half-botched.
The 'Little Miss Sunshine' competition left me a little cold, too. I was baffled by the star cameos who purposelessly showed up just to be a part of the procedings. There's nothing terribly original being said about the horrifying spectacle of pageantry and it's enjoyable to see it being sent up, but I wish Olive would've had her own moment to shine without the family joining in, in a "One Of Us!" spectacle.
Can't jump on board the bus. A shame. I wanted to. I still think Alan Arkin's going to win the Oscar, but if somebody's going to be nomimated from this cast it should be Abigail Breslin. She's a marvel and she manages to elevate everybody. Everybody. It's quite a task and she pulls it off.
Reza wrote:It, thus, has a lot to say about the lack of quality films available for consideration and also about the people who are championing this comedy.
Honestly, I think the latter part of this statement is reductive and elitist. I liked Little Miss Sunshine for what it was, a cute little road-trip film with some endearing performances. I don't think I'm actively campaigning for it to win major awards or declaring it to be the next great acheivment in independent filmmaking. What does that "say about" me? Give me a break.
I don't think my statement is elitist at all (and my remark was certainly not directed at you). I, too, liked the film but at the same time don't think it should be on any 10 best list. I'm questioning the choice of critics who are placing this film on such lists or nominating it for awards.
Depending on how my personal list shapes up after watching all that is on offer, I may put the kid on my list but certainly wouldn't put the film on my best picture list.
Reza wrote:It, thus, has a lot to say about the lack of quality films available for consideration and also about the people who are championing this comedy.
Honestly, I think the latter part of this statement is reductive and elitist. I liked Little Miss Sunshine for what it was, a cute little road-trip film with some endearing performances. I don't think I'm actively campaigning for it to win major awards or declaring it to be the next great acheivment in independent filmmaking. What does that "say about" me? Give me a break.
"The mantle of spinsterhood was definitely in her shoulders. She was twenty five and looked it."
I continue to be amazed and find it incredibly absurd that this film is actually in consideration for serious awards. It, thus, has a lot to say about the lack of quality films available for consideration and also about the people who are championing this comedy.
I didn't like Kinnear in it at all. I couldn't stand him and that's taking his irritating character out of the equation. I liked Breslin and I thought Collette did pretty well. It was also the first time I've been able to stand Steve Carell and though he was even quite good.
Kinnear...blech...Arkin...meh...Dano....huh?
Wesley Lovell
"Any society that would give up a little liberty to gain a little security will deserve neither and lose both." - Benjamin Franklin
Mister Tee wrote:And the question becomes (sorry if it's cruel): how did this lovable little girl ever win a beauty contest anywhere?
I would've voted for little Olive on sheer principle alone. That lineup of glossed-up and sexually-suggestive little JonBenet's, purring and cooing at the (totally gay) emcee's rendition of "God Bless America" was beyond disturbing.
I finally saw this and was delightfully surprised. It wasn't nearly the paint-by-numbers horror show I expected after reading some of the comments on this board. There are a lot worse movies out there for sure. The performances of Abigail Breslin, Greg Kinnear, and Steve Carell make up for some of the movie's more obvious shortcomings. Breslin's revealing moment in the motel room with Arkin is painfully real.
Mychael Danna's score, as Sabin mentioned below, is wonderful and really ought to be recognized come Oscar time. I'd support a nomination for Breslin, although I'm surprised that Kinnear hasn't been cited for this. He's really a standout.
"The mantle of spinsterhood was definitely in her shoulders. She was twenty five and looked it."
My memory may be soured by my dislike of the film overall, but I thought she was atrocious in The Hours - the poise, the voice, the very look of her character didn't ring true and made me want to throw something at the screen. She can do more 'stylised' period roles very well - I love her in Velvet Goldmine.
Collette's performance in Muriel's Wedding is among my favourite performances of the 90s - she's an absolute joy, effortlessly portraying a not particularly nice character and making you root for her every step. Wonderful stuff. And, yes, she was superb in The Sixth Sense and Japanese Story.
rudeboy wrote:Agree with Cam on Collette, who can be one of the best actresses around or (The Hours comes quickly and painfully to mind) one of the worst.
What did you find so objectionable about Collette's performance in The Hours? I thought she played Kitty perfectly.
With the right material, I find Collette quite good. Her palpable grief in Japanese Story, her free-spirited ugly girl in Muriel's Wedding or her devastating final scene (for which she should've won the Oscar) in The Sixth Sense -- all come to mind as elements of some of her stronger performances.
Then there's the abominable Connie and Carla which we won't discuss here.
"The mantle of spinsterhood was definitely in her shoulders. She was twenty five and looked it."
I found the characters way too contrived, the whole film forced and ultimately quite tedious, if amusing in fits and starts. Agree with Cam on Collette, who can be one of the best actresses around or (The Hours comes quickly and painfully to mind) one of the worst. I could live with a nomination for Breslin, and even the usually wonderful Arkin - although he really doesn't deserve it for this. But, yeah, Kinnear was the stand-out. He really is a terrific actor, I've yet to be let down by him.
But it looks like this little throwaway film is going to hang around. I think nominations for picture, screenplay, song and one or two of the performances are now almost inevitable.
