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Playing at:   Camera 7 Pruneyard - Buy Tickets
New this Week!

Director: Craig Johnson (The Skeleton Twins, True Adolescents)

Cast: Woody Harrelson, Laura Dern, Isabella Amara, Judy Greer, Cheryl Hines

Synopsis: Wilson is a lonely, neurotic and hilariously honest middle-aged misanthrope who reunites with his estranged wife and gets a shot at happiness when he learns he has a teenage daughter he has never met. In his uniquely outrageous and slightly twisted way, he sets out to connect with her. "Harrelson makes the character his own, irresistably,"--New York Post

Running Time: 94 Minutes
(plus 8-10 minutes of trailers)

Official Web Site:

MPAA Rating: R


Camera 7 Pruneyard Buy Tickets
Open Captioned Screening 12:40pm on Mon, Mar. 27th!
Daily at 12:40pm, 3:05, 5:20, 7:40; plus Fri-Sat at 10:00pm

No free passes or daily deals, but discount cards o.k.


Harrelson, Daniel Clowes, and our favorite films of Sundance 2017By A.A. DowdCan a film be both bitterly, bitingly misanthropic and kind of cuddly? Wilson (Grade: B) gives it a good college try. The film is based on the 2010 graphic novel by Daniel Clowes, who helped adapt some of his earlier works into a pair of big-screen comedies, Ghost World and Art School Confidential. With Wilson, he’s again translated one of his prickly studies of modern alienation to the screen, but without Terry Zwigoff—a kindred spirit of despair and bilious humor—behind the camera. Instead, the project has been helmed by Craig Johnson, director of the recent Sundance favorite The Skeleton Twins, and one can often sense it being pulled in divergent directions, toward the acid wit of its creator and toward something a little more charitable, a little more Fox Searchlight-friendly.An uptick in humaneness, and in palatability, was possibly inevitable; behavior that readers can stomach from a drawing, frozen in ink, might be a tougher sell in flesh-and-blood form. Johnson’s strongest move was securing Woody Harrelson for the title role, an incorrigible windbag who lacks social boundaries, a filter between his mind and motor-mouth, and just about anyone willing to put up with him for longer than a few minutes. Harrelson doesn’t shy away from Wilson’s obnoxiousness—this is a guy who plants himself next to strangers on an empty bus, then berates them when they don’t share his anticonformist worldview—but he does sand down some of his edges, lending an oddly likable quality to his gregarious assholery. Harrelson makes the character his own, irresistibly.Wilson the book was structured as a series of one-page gag strips, capable of being enjoyed in isolation or as part of a larger narrative. That explains why Wilson the movie often plays like a punchline machine, dropping Harrelson into various situations/encounters and then cutting away on a caustic remark. So long as the film is operating in episodic fashion, the laughs land; Harrelson delivers each off-color joke and uncomfortably honest observation with a true-believer’s zeal. The film is less satisfying when shaping the plot points of the source material—Wilson’s search for his ex-wife (Laura Dern) and the daughter (Isabella Amara) he’s never known—into something resembling a dramatic arc. Clowes fans may be vaguely disappointed. Harrelson fans will not.

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