Paint

Wilson is often hilarious in the film – truly, no one else could take on this role – but 'Paint' creates a three-dimensional character in Carl and lovingly puts him through some very thoughtful paces.

Ross always preached that there were no mistakes, just happy accidents. A mess like “Paint”—all broad strokes and no point—proves that he wasn’t always right.

It's very awkward and wrongheaded.

There's not a lot of laughs in this movie, which might've been intentional -- but then what was the point of this film?

McAdams presents a head-scratching and tone-deaf image of the beloved TV personality. With nary a plot point in sight besides a light rivalry and an old flame, Wilson must cling for dear life to the caricatured portrait of the hapless small town hero.

This could have been the setup for a terrific workplace comedy if McAdams’ script didn’t seem at every turn to blunt the edge of its own satire.

It's listless, plodding and unfocused, with only the merest whiff of a plot.

With an over-the-top blond Afro hairdo and a voice that rarely rose above a whisper, Ross was to painting what Fred Rogers was to children’s TV: innocuous, unthreatening, and thoroughly predictable (in a comfort food sort of way).

The not-Bob Ross shtick works for a little while as a weird curiosity thanks to Owen Wilson's commitment to the bit, but in trying to take it to a psychological and romantic conclusion all interest in the one stretched joke is lost.

“Paint” is more amusing than laugh-out-loud funny.