Movies

‘Stick’ review: Owen Wilson charms in this golf comedy about grief and growing up

BBG News

As a dedicated film enthusiast, let me share my excitement for “Stick,” debuting this Wednesday on Apple TV+. This delightful series is a unique blend – a sports tale, a journey across the open road, a rite of passage narrative, and momentarily a heist flick. Occasionally, it challenges you to suspend disbelief in certain instances, but never at the expense of its heartfelt emotional depth. While golf serves as the initial attraction, it’s not the central focus; instead, it’s about grappling with anger and elation, feeling lost and found, damaged and mended, listening and learning – experiences that resonate differently for each main character. In essence, everyone goes through their fair share of pain.

If you find “Ted Lasso,” a series whose title may have been “Stick” in development, lacking in realism or overly sentimental, then this show might not be your cup of tea. Personally, I don’t share that view and am quite enjoying it.

Owen Wilson portrays Pryce Cahill, a once legendary golfer who experienced a downfall after a personal family tragedy and an on-course breakdown caught on live TV. Now, he works at a golf pro shop and runs shady bar schemes with his grizzled caddy Mitts (Marc Maron). Living in the house he shares with his understanding but frustrated ex-wife Amber-Linn (Judy Greer), who wishes him to move out, Pryce spends his days drinking beer, smoking weed, and eating Lucky Charms straight from the box. Mitts explains later that these are Pryce’s favorite cereals because he acts like a child. The faded yellow sports car he drives, a relic of his past success, is patched together with Bondo. “Stick” is Pryce’s nickname, but “Stuck” could also have been a fitting title for the movie.

One day, during a lesson on a local golf course, he hears an unusual sound that causes him to look, and finds 17-year-old Santi Wheeler (Peter Dager) demonstrating impressive power and precision with his drives. Intrigued, he starts asking questions, but initially dismisses him as a nuisance, thinking “aren’t younger people supposed to irritate older people, not the other way around?” However, when Pryce, who sees an opportunity to leave more than just a YouTube clip of his most embarrassing day, approaches him at his job offering coaching, he changes his mind. Despite Santi already being almost inhumanly talented, he is still raw and unpolished.

Santi, who often expresses aggression, possibly to relieve tension, has grown distant from the game and unwilling to take advice – reasons we’ll soon discover go beyond typical teenage rebellion. However, his mother Elena (played by Mariana Treviño exceptionally well) motivates him, leading Santi to gradually embrace the idea. This sets the stage for a tale that will guide them through multiple tournaments towards the significant U.S. Amateur match and Pryce’s long-predicted encounter with his former adversary Clark Ross (Timothy Olyphant, both attractive and polished). Although portrayed as a potential antagonist, Clark isn’t truly evil in the spirit of this series, making him more of an adversary than a genuine villain.

Following a series of challenges, negotiations, and appeals that fill the initial two out of ten episodes, Pryce, Santi, Elena (alongside her three little dogs), and Mitts embark on their journey in Mitts’ Winnebago. This vehicle was intended for Mitts to visit all the national parks with his late wife, holding a special emotional significance for him. Soon, we’ll welcome a fifth member into our group, Zero (played by Lilli Kay), an individual without a fixed address or gender identity. Santi, feeling upset with Pryce, meets Zero at a critical juncture, shortly after Zero – who identifies as “she/they” – has left her job as a clubhouse bartender. “It seems like he’s taking advantage of you,” Zero says, “making you perform for his own ego and personal gain… It’s what these capitalists do.” However, despite initially appearing as an exaggerated embodiment of youthful hyper-reaction and general distrust towards the older generation, Zero becomes a valuable addition to our team.

Television

Jason Keller, the mind behind Apple TV+’s forthcoming comedy series centered around golf, expressed his curiosity about developing a character who fell short of fulfilling their potential.

This show could be considered a comedy that explores generational differences. Notably, its creator, Jason Keller (known for “Ford v. Ferrari”), is 56 years old. Younger audiences might not fully relate, while older viewers may find it reflects their views on today’s youth. However, these gaps can be bridged, much like barriers are meant to be broken down. There seems to be an excess of dramatic walk-offs, which could be due to the series’ length and the necessity to create, resolve conflicts, and express emotions effectively. In contrast, “Stick” maintains a sharp focus — there are no secondary storylines — allowing dialogue to flow more naturally. Incidental learning happens instead of being explicitly stated as bullet points.

In all compelling narratives, whether sports-related or not, the protagonists are the underdogs; their victories become more intriguing when preceded by losses. “Stick” blends elements from two popular 20th-century storylines – “The Wizard of Oz” and “The Bad News Bears.” Directors Valerie Faris and Jonathan Dayton, known for the underdog tale “Little Miss Sunshine,” helm the first two episodes. While certain events may be expected to unfold, the show keeps you guessing as they approach. However, surprise isn’t the primary focus. Instead, it’s essential that the characters are unique individuals rather than stereotypes, and their actions and interplay feel authentic or “chemically valid.” Remarkably, “Stick” excels in this aspect.

The show thrives on an array of outstanding performances. Wilson, who seems to have been tailor-made for this role, possesses a unique talent for portraying quirky everyday men and older adolescents, effortlessly blending melancholy with joy. (“I wouldn’t put money on that guy,” he admits, yet remains an optimist beneath it all.) Maron embodies the character of the piece, reminiscent of William Demarest in Preston Sturges films. He subtly conveys his grouchiness; as the most open character, Treviño skillfully uses her gestures and eyes to express a great deal. Dager and Kay expertly maneuver through the highs and lows, twists and turns of their characters’ journeys.

From the start, there were enough unresolved plot points to imply that Keller was considering a second season. However, if a second season doesn’t materialize, the conclusion of this season stands alone as fulfilling; not every question needs an answer, and my attachment to the characters makes me worry about the problems a second season might create for them. I’ll still tune in!

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2025-06-03 21:31

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