Wilson

Harrelson’s needy misanthrope demands love, stomps feelings, never learns — but it’s fine.

2950d ago

The director’s visual approach to the material (along with cinematographer Frederick Elmes) is so light and indistinct throughout that a flavorless repetition eventually sets in.

2950d ago

The panels of Daniel Clowes’ comics, like Ghost World and Eightball, are safe havens for the world’s oddballs, misfits, and misanthropes. In other words, people like Woody Harrelson’s Wilson.

2950d ago

Daniel Clowes' graphic novel gets the indie-cutesy treatment – and a star who nails title character's misanthropic-prick personality.

2950d ago

You’ll likely be familiar with Woody Harrelson’s title character in “Wilson”: He’s the dude who sits down next to you on a plane or subway or park bench, and proceeds to rattle on endlessly with zero need for input. The fact that you’re not saying anything registers — to him — as rapt interest instead of a fervent wish for him to go away.

2950d ago

There’s a story in ‘Wilson,’ but not an entire movie.

2950d ago

Just in case you are wondering, “Wilson” is not a sequel to “Cast Away.”

2950d ago

Woody Harrelson plays a lonely neurotic inspired to take another shot at a fulfilling life when he learns he has a teenage daughter in Craig Johnson's film of Daniel Clowes' graphic novel.

2950d ago

Warming up this material, as Johnson tries to do, doesn't make it warmer; it just makes it seem warmed-over.

2950d ago

Woody Harrelson plays an aging loner curmudgeon in a comedy based on a graphic novel by Daniel Clowes, the creator of 'Ghost World.' There are laughs, but the hipster factor is wearing thin.

2950d ago

The filmic take on Daniel Clowes’ graphic novel wants to stand up for the weirdos – but instead makes you yearn for silence

2950d ago

The dark, comic poignancy of the book is drowned in garish, self-conscious whimsy, and the work of a talented ensemble is squandered on awkward heartstring snatching.

2950d ago

Harrelson is mostly game, channeling a more abrasive version of Harvey Pekar, but time and again, the film pulls its punches or becomes bogged down in cliches.

2950d ago

Craig Johnson’s film lurches from poignant melancholy to cartoonish slapstick, unable to settle on a consistent tone.

2950d ago

There’s a story here, all right, but it’s a heartless and bitter one.

2950d ago

The beginning marks the beginning of the end: A middle-aged man rouses from sleep, about to face another day of accosting and insulting strangers.

2950d ago