I am still shocked that this film wasn't nominated for direction at the Oscars and that it lost best picture to the overwrought The Departed. This is film captures far more of life as lived in single scenes than most films capture in their entire runtime. It is not just the great script that has great comedic bits and utterly real characters. It's not just the pitch perfect cast. This is a great *visual* film as well because of the traveling scenes and the quirky design sense.

The direction is extremely tight. Whether it is how the opening dinner sequence delineates character and their relationships-via clothing and seating arrangements-economically or how they kept the interior of the van visually fresh the film is filled with splendid and meaningful images. I think the script and the acting are so good that people just didn't notice the visual niceties the film captures. There's even a couple of hard jokes to land-i.e. Porn in the trunk-that the directors managed to make work far better than the story beat does on the page.

I think the film's theme around the cruelty of the rat race and the insane pressure we put on ourselves because of "competition" land better in 2022. Maybe I am just getting older but Richard is a bit of an jerk who did need to learn to chill. I like that the film isn't anti-competition per se but encourages us to keep things in perspective.

It would be unfair to limit the film to one adjective. But charming is the first one that comes to mind. I really don't know how they did it, but the screenwriter Michael Arndt and directing team Dayton/Faris (Jonathan and Valerie, that is) have managed to create a movie in which we are simply so connected to the characters it's frightening. This is a very quirky bunch, and while their traits can be found in everyone we know, they are certainly extremely weird and I certainly don't know any families who are quite as odd as the Hoovers. And yet, we forge such a strong bond with each and every one of them, right from the opening pre-title introduction sequence – probably the best character introduction sequence I've seen since Magnolia. These people are just so real! It's unbelievable just how three-dimensional these characters are. They remind me of The Squid and the Whale – another recent movie that comes to mind when I think of this type of character development – these are just normal, regular people, and the filmmakers developed them as such in the most in-depth, well thought-out and just ingenious way possible.

That brings me to the second adjective: Realism. If you've seen the film you know that some pretty wacky things go on in it, but in the end, these people are just plain real. They are real human beings – at least we the viewing audience come to believe. If they weren't so incredibly well thought out and detailed and rounded, we wouldn't forge such a strong bond with them. But fact of the matter is, the Hoovers have quickly become one of the most memorable cinematic families. Their traits. Their flaws. Their dreams and ambitions. Their dynamics, mannerisms, nuances. Every tiny little detail about these people is just so incredibly portrayed.

Obviously, it would be unfair to say that a comedy isn't funny. When Little Miss Sunshine gets funny, it's hilarious – we're talking pitch-black dark and very quirky comedy, but it works admirably, reaching sort of a peak in the infamous, hilarious and totally wacky traffic cop scene.

The acting is. Simply put, amazing. You won't see any Oscar moments here, no characters that have some particular traits that require various forms of "method acting" to perform. This is simply actors playing a bunch of people who they are clearly quite unlike, but playing them as if they are. The shining star is young Abigail Breslin, who out-acts pretty much all of her older cast-mates. How she can embody a completely other character at such a young age is completely beyond me – and she's been doing it since age 6! Dakota Fanning, watch out! Paul Dano, the other young actor, also delivers an amazing performance. Myself being fresh out of that period of my life, I can say that his portrayal of a frustrated teenager – specifically in the scene where he just explodes (those who have seen the movie will know what I'm talking about) is just so true and realistic. Arkin is brilliant as the old grandfather, who is at once quite annoying and vulgar and at once the most human of all the characters. The three adult leads also deliver wonderful, nuanced performances – Toni Colette, who has quite a streak of wonderful performances in various films, particularly impressed me.

But what makes the film so special is its message – and even more so, how it delivers it. Basically, the film's message can be summed up in one brilliant line delivered by Arkin's character, Grandpa Edwin: "A real loser is someone who's so afraid of not winning he doesn't even try." This is a family who see tragedy after failure after disappointment, and it's just so, so sad to see them so down, because we love them all and we know that they don't deserve it, despite all their flaws. Seriously, this movie is absolutely brutal to its characters. But ultimately, it's absolutely inspiring. Because despite disappointment after tragedy after blow to the stomach, this family just keeps their head up and say "so what; we'll find another way". Their determination and devotion despite all the obstacles in their way, and their ultimate removal from their anxieties and un-winding is simply and absolutely inspirational, and extremely heartwarming.

The flaw of many independent films that carry a message is that they insist upon themselves. Sometimes it works admirably – a recent example I can recall is The Fountain; it's undeniably pretentious, but by fulfilling its own expectations it works as a message film. Little Miss Sunshine delivers its message in simply the most incredibly, charmingly sweet, pure, honest, and innocent way you could ever imagine. It's just so… pure. And that's really the single most engaging and appealing aspect of what is already an amazing piece of work.

This is such an offbeat piece of work I don't know where to start. I think the Miss Sunshine part tells us that no matter what a mess life may seem, there is a ray of sunshine. This is a story about a group of the most diverse and often dysfunctional characters ever put on a screen. The point of the story is to get to a beauty/talent pageant across country. The positive energy put forth by little Abigail Breslin is astonishing. We know from the start that the little waif with her big glasses isn't going to outshine all those little beauty queens with their overbearing mothers and thousands of dollars for dental work and hair styling. But the movie is about the journey and the love that develops along the way. When push comes to shove it is the "weird" who seem the most normal and the Normal who seem "weird." Alan Arkin is great in his brief appearance. The profane munching that goes on among the characters is precious. Underlying their schizophrenic rants is true love.