The film finds enough intelligence in the themes of personal expression and equitable opportunity to turn the world of a Bob Ross-like painter into more than a drawn-out sketch.
The soft-shell masculinity Owen Wilson sells so well gets a solid workout in the goofball charmer “Paint,” about a beloved PBS art show personality sporting a nimbus of sensitive curls, the denim magnetism of a troubadour, and a healthy belief in his staying power.
With his pipe, paintbrush and you-can-do-it platitudes, Wilson’s whisper-voiced Carl Nargle is Burlington, Vermont’s big fish in a small — but picturesque — pond, turning cozy colors, calming vibes, and nature scenes into hypnotic daytime television for his followers, a demographic neatly summed up in reaction montages as eager hobbyists, enraptured seniors and lonely barflies.
Had “Paint” settled for a litany of jokes involving chowder bread bowls, CB radios and public television culture, its snickery zing would have probably played like little more than a drawn-out sketch. But McAdams finds enough heart and intelligence in the themes of personal expression and equitable opportunity animating his comedy to spur a rounder laugh from the more absurd elements, and a chance for the rock-solid cast to not seem like merely figures in a funhouse.
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Owen Wilson Loses the Joy of Painting in Insipid Bob Ross Pastiche PaintPaint, which puts forth a clumsy spin on the persona of Bob Ross, proves that a funny meme does not a feature film make. justbrizigs' review:
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