By now, knowing what to expect from Owen Wilson’s next form of output shouldn’t be difficult in any way, from his can’t-sit-still manner of speech to his wide-eyed optimism, all framed by a head of perpetually unkempt hair and the oft-commented-upon way in which he says “Wow. “Mostly unchanged since the days of “Bottle Rocket,” what’s left for the middle Wilson brother to explore? With “Stick,” Wilson’s debut in the world of Apple TV+, it could be seen as a perfect vehicle for this erstwhile actor’s particular brand of ability, even as it steps into the space occupied by “Ted Lasso” more than it may or may not like.
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Pryce Cahill (Wilson) has a way with words. It’s what makes him such a talent on the sales floor of a golf shop, filling his customers with motivational quotes as he sneakily sells them $1200 drivers. Still, such a gift clearly hasn’t been enough to keep his marriage intact, as he returns to the home he and his soon-to-be-ex Amber-Linn (Judy Greer) will be listing on the market before long, and his sorrows meet their end at the bottom of more than a few drinks. Meanwhile, on the walls of said house hang more than several golfing accolades, from photos to U. S. Open flags; his history in professional golf now made explicit, what’s happened in the years since?
As we wait to find out, it’s time for “Stick” to conjure up its first of what will be several nods to “Happy Gilmore” when his secondary gig of golf coach sees Cahill distracted mid-lesson by a loud noise; turns out, said noise came from a young man named Santi (Peter Dager), as he hits massive drive after drive into any number of mileage markers from the bays of a near-empty driving range close by. It’s clear there’s a level of skill in Santi that immediately sets the gears within Cahill’s head in motion, but Santi wants no part of whatever Cahill has in mind, for reasons as yet unknown. Fortunately, a little detective work soon places Cahill at Santi’s place of employment, much to the latter’s chagrin. A simultaneous visit to the business owned by Santi’s mother Elena (Mariana Treviño) officially kicks off Cahill’s plan: coach Santi, take him on the road, compete in the U. S. Amateur Championship, take another page from “Happy Gilmore” or even “Eddie the Eagle” in the process.
Meanwhile, Cahill’s former caddy, Mitts (Marc Maron), now operating a con that sees him placed at any bar where Cahill also sits enjoying a beverage, as the former, pretending to be a stranger, taunts him from across the room, eventually setting up a wager or two with anyone within earshot. As classic a hustle as this may be, Cahill’s ticket back to the glory that once escaped him wouldn’t be complete without the curmudgeon that is Mitts, even as Mitts can’t help but express his overall reluctance.
We all know where this is heading. Even as Elena lays out her requests/demands for her son’s impending partnership with Cahill, a list attached to a rather hefty price tag, the quartet soon hits the road, allowing the screenwriting to further establish a dynamic and flesh out the characters as tried and true as any streaming show since, say, “Ted Lasso. “Yes, Santi has his own demons in the form of an absentee father, a man responsible for Santi’s initial love of the game and eventual semi-hatred, and there’s still that nagging issue of what happened to cause Cahill’s disappearance from the sport in the time preceding the pilot episode. Will we find out? There’s still plenty of season left.
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There’s no question whatsoever that the role of Pryce Cahill sits tailor-made for the likes of Owen Wilson, as he takes that same, trusty character copy/pasted from a dart landing on “You, Me and Dupree” into the frames of “Stick.” Like Marc Maron, Wilson’s just fine again playing a facet of himself conjoined with his memorable appearance on the all-too-short-lived “GLOW.” Judy Greer? By this point, everyone’s favorite character actress could play this sort of role in her sleep, which is far from bad. The banter between Wilson, Dager, and Treviño also works, even as both remain helpless to plunge into the pit of cliché via the caring, overprotective parent and the difficult prodigy.
But, the comparisons…oh, the comparisons. Seeing Cahill burst into Amber-Linn’s office repeatedly, sitting down to discuss Santi or possibly solicit the $100,000 that Elena has requested so she can accompany her son on the road? It seems like a palette-swapped version of Ted Lasso and his office chats with Rebecca, but they do not. Though an admittedly rougher-around-the-edges dynamic, the partnership of Cahill and Mitts does bring to mind that of Lasso and Beard, while on the other side of the coin, Cahill’s advice of mentally conjuring up something uplifting can’t help but feel like this era’s Happy Place…yes, “Happy Gilmore” continues to show up. It was said there would be more, and likely far from the last; meanwhile, a scene of Cahill calling his old industry contacts in an effort to raise the money necessary to fund this venture feels ripped from roughly any comedy of this era or any other.
As Cahill’s quotes turn to golf metaphors and each episode begins a new round of “Spot The Reference, “it’s hard to ignore the innocence present throughout as it becomes increasingly tricky to avoid everything seen in better films before and a lead performance with which Wilson seems content to borrow liberally from himself. Fortunately, Wilson remains as watchable as anyone of a similar pedigree, from McConaughey to Harrelson, and it’s thanks to this that a show supported by a foundation of all that came before becomes a genuinely easy watch. Don’t expect a hole-in-one with “Stick,” and that’s nothing for which this show should be ashamed. [B-]
“Stick” is now streaming on Apple TV+.