Fox Searchlight, the branch of 20th Century Fox partial to independent films, is gradually becoming one of the more consistently successful (both commercially and critically) studios after a banner year in 2006. Founded in 1994, the studio eventually had a major success with “The Full Monty” (1997), which was nominated for Best Picture and Best Director at the 1998 Academy Awards. Although failing to win either of said prizes, “The Full Monty” was met with otherwise favorable notices. Fox Searchlight’s next successes came much later, and once again, were British imports. Both “Bend it Like Beckham” (2002) and “28 Days Later” (2002) had strong runs at the box office, while the latter stood out on several critics’ year-end lists. After the surprise hit “Napoleon Dynamite” (2004), which generated an astonishing profit, momentum shifted to Alexander Payne’s “Sideways” (2004), which picked up exceptional notices in several critical circles and was a forerunner in the Oscar race. In 2006, Fox Searchlight changed pace, releasing their first non-English-language film, “Water.” 2006 also marks another opportunity for the studio to pick up several awards at the Oscars with their comedy “Little Miss Sunshine” -- a film that has a good a chance as any to pick up the elusive Best Picture award.

“Little Miss Sunshine” premiered at the 2006 Sundance Film Festival, where it became an outright audience favorite. Directed by music video veterans Jonathan Dayton and Valerie Faris, the film is equipped with a pleasant blend of wry comedy and touching drama set to the dynamics of a dysfunctional family who embark on a road trip to California. On the surface, their journey bears typical genre archetypes complete with self-discovery and bonding, but the nuances that the talented actors bring to their respective characters provide the film with warmth and meaning.

In an impressive opening sequence consisting of a series of brief vignettes, the Hoover family is introduced as more than just the typical American family. Seven-year-old Olive (Abigail Breslin) stares awestruck at her family’s big screen television watching and emulating the reaction of a beauty pageant winner, her father (Greg Kinear) lectures on a self-help program to a sparse audience, her uncle (Steve Carell) is recovering from an attempted suicide, her grandfather (Alan Arkin) struggles with his cocaine addiction, her brother (Paul Dano) tirelessly exercises and maintains a vow of silence, and her mother (Toni Collette) battles to sustain unity in her family. Afterwards, the Hoover family assembles for a dinner consisting of fast food and inevitable bickering. The introduction to these characters is essential in setting the tone for the remainder of the film, and the directors’ effective approach reminds me of the similarly-toned Wes Anderson film “The Royal Tenenbaums” (2001). Anderson, keen on film history, was inspired by Orson Welles’ “The Magnificent Ambersons” (1942), but both his film and “Little Miss Sunshine” share themes of failure and longing for acceptance. More importantly, both films arrive at conclusions that embrace individuality.

Admittedly, the vast array of excessive characterizations sound slightly contrived on paper, but the actors lend a fine sense of sincerity and naiveté to aid in the believability of potentially artificial scenes. The ensemble cast is adept at playing their roles straight without forcing the jokes. The humor is often subtle and found within the actors’ body language. Arkin clearly lightens the mood of the film with his character’s outspokenness on everything and anything. His work is starkly contrasted with Carell’s physical comedy and sarcasm. Aside from the humor, the creation of family is easily the ensemble cast’s greatest accomplishment. Directors Dayton and Faris have clearly integrated their own experiences to coincide with writer Michael Arndt’s cynical, but touching, slice of Americana.

It’s difficult to say whether Arndt set out to demonize beauty pageantry or whether the ending is a consequence of presenting a presumably honest perspective. Regardless, there’s a bitter skepticism cast over the final sequence that’s disguised by, arguably, the only instance of outrageous humor. Whether this skepticism resonates or the laughter presides will determine one’s lasting perspective on the film. I was left comfortably lingering between the two in a state of pure bliss, which is a welcome experience in present day’s sparse catalog of enjoyable American comedy.