FilmStew’s Richard Horgan has up an amusing little piece which tweaks some of the problems facing Drillbit Taylor, Owen Wilson’s first big mainstream studio flick to open since his suicide attempt last autumn. It’s foremost a speculative goosing of the glad-handing Hollywood junket train (conforming to Wilson’s code of silence, Drillbit Taylor had no big press day), but lurking underneath is the million-dollar question: It’s one thing for an actor to be dark and troubled, and maintain the ability to project something else, but what happens when everything about that actor’s appeal flows from a sunny countenance and smirky, laissez-faire attitude?