New York Times
critic A.O. Scott says that he counts himself among the admirers of Judd Apatow's
comedies but considers Drillbit Taylor the way he would a fashion company's
discount line. Taking note of a tag line on ads for the movies that says "You get
what you pay for," Scott remarks, "I saw it free, and I still feel cheated." Most other
major critics express similar disappointment. "Four years into the Judd Apatow comedy
revolution, the troops are beginning to show signs of battle fatigue," writes Peter
Howell in the Toronto Star. Kyle Smith in the New York Post begins his review
with this opening shot: "The last time I saw this much talent in a losing cause was
Super Bowl XLII." And Kevin Crust in the Los Angeles Times describes it as
"an unremarkable patchwork comedy." Owen Wilson, who reportedly is being treated for
depression following a suicide attempt, is not likely to be lifted out of it by Drillbit's
reviews. Several reviews suggest, however, that Wilson's talents are wasted in the film.
"Wilson has occasional funny moments here, but he's hampered by a disjointed story
and bland, slapstick gags," writes Claudia Puig in USA Today. And Mick LaSalle
in the San Francisco Chronicle comments: "There's a raging gulf between Owen
Wilson's talent and the quality of his movies. His comic timing, his distinct look,
his versatility, his combination of darkness and light, his verbal dexterity, his
ease in his body and his engaging personality all argue in favor of an actor who should
be banking one terrific movie after another. And if not terrific, good. And if not
good, respectable. And if not respectable, at least not embarrassing." Drillbit
Taylor, LaSalle suggests, represents the latter.
21/03/2008
