Ben Singer (Matthew Broderick) was a once mighty force in the world of youth
entertainment, finding his music career shut down by the greedy side of the
business. Now a legal proofreader trying to stay involved in the life of his
pre-teen daughter (Jodelle Ferland), Ben finds comfort in the friendship formed
with his Senegalese roommate, Ibu (a wonderfully soulful turn by Michael K.
Williams). When Ibu falls into a diabetic coma, his sister Khadi (Sanaa Lathan)
arrives from Africa for support, infiltrating Ben’s bleak worldview with her
foreign optimism and rural wisdom. The two soon strike up a relationship, which
challenges Ben’s passion for discomfort, opening him up to the possibly of a
life lived with a sliver of hope.
Written and directed by Joshua Goldin (amazingly, the co-screenwriter of “Darkman”
and Broderick’s 1992 flop, “Out on a Limb”), “Wonderful World” is a reserved,
lightweight picture that assumes the rather bulky weight of pessimism. Ben’s
world is one in constant combat with “The Man” (played by Philip Baker Hall),
who often visits the cynic during his dreams to remind the schlub who truly
controls the weight of the world, pressing down harder on his despondency. Ben
is miserable, burned long ago by an industry he trusted, resigned to a life
where manipulation and corruption is found everywhere he looks, poisoning his
relationships with loved ones.
Goldin sustains this dread vividly throughout most of “Wonderful World,”
employing Broderick’s gift for conveying convincing melancholy to terrific use.
The picture isn’t a depressing sit, but it does touch on a reality of contempt
that feels uncomfortably authentic. For the first half, Goldin scripts an
engrossing journey of depression for Ben that flows naturally, building the
character as a plausible curmudgeon who wants nothing from his fellow man. For
45 minutes, “Wonderful World” shoots straight and constructs an atmosphere of
social objection that’s digestible and, frankly, sometimes easy to agree with.
Once Khadi enters the picture, the script takes a few sharp turns toward
redemption that feel rushed, though Lathan’s performance is relaxed and brings
around interesting chemistry with Broderick. Still, melodrama soon floods into
the proceedings and Goldin gets grabby with character arcs, looking to tie
together altered worldviews in only a few clunky moves. The short running time
(85 minutes) is appreciated, but “Wonderful World” reaches beyond its grasp in
the second half, bursting the compelling mood it was building with such
clear-eyed direction.
