Based on a comic book (or graphic novel, if you prefer), Wilson purports to have, in the words of its title character (Woody Harrelson) the “courage to go your own way.”
With a cute dog and Harrelson—appearing with talented The Prize Winner of Defiance, Ohio co-star Laura Dern (Wild, The Founder, Jurassic Park) as his ex-wife—perfectly cast as a rambling type of angry white male that’s commonly ridiculed and rarely depicted with any depth, let alone with good humor, Wilson might have scored. Unfortunately, the movie based on the works of Daniel Clowes, who also wrote the movie’s screenplay, draws a blank.
As that guy, i.e., an unfiltered, unhinged and apparently unemployed man who’s a case of arrested development, Harrelson plays to type in what should be an outstanding role for him. He’s suited to this sort of quirky film character. As his junkie ex-spouse, Dern feeds him plenty of set-ups. They reunite after a long introduction in which Wilson appears to have no means of financial support, except perhaps for a dying father who doesn’t love him, though whether he leaves Wilson any money is unclear. In the sort of scene that could have been a springboard to thematic coherence and isn’t, Dern’s waitress and nomadic Wilson hide behind mannequins while stalking the kid she gave up for adoption.
Stand alone jokes earning a chuckle every 15 minutes and an eventually obvious reason for Wilson’s inappropriateness aside, Wilson putters along like a series of situational skits without a point, most of which are not funny. Actress Judy Greer (Ant-Man, TV’s Archer, Grandma) as the dogsitting love interest does add value but it’s not enough. All the wandering, stalking, joking and rambling adds up to an Apatow-style vulgarity message about procreation as the purpose of one’s life, with an emphasis on blood and carrying on your own DNA, not exactly a humanistic or interesting notion. Like the manic, raunchy movies in which the sleaze is rationalized because everyone decides to settle down, settle for less and just make more babies and conform, Wilson is purely an exercise in bland traditionalism in the final analysis, which makes Wilson a middling trip into one man’s damaged psyche.
At one point, Wilson watches icicles melt. It’s the kind of scene that might play well in a cartoon strip, as a wry, knowing look at middle-aged man’s lament. But, when one character deadpans that “this is gonna be fun,” you’re already in on the fact that it isn’t, which makes Wilson flatter than it already is.