Cinema history is littered with cranky, contrary loners that are compelled or inspired to embrace their dormant humanity, and [Wonderful World] is the latest entry into that canon. The difference here is that Josh Goldin’s debut lacks the mawkishness traditionally found in the sub-genre. Divorced, struggling copy editor Ben spends his days wallowing in misery and blaming the world. He has a roommate, Ibou, and when he is hospitalized as a result of city negligence, events are set in motion to bring Ben back to the land of the living. It’s a simple plot, but Goldin consistently and effectively subverts convention and in doing so keeps the film focused and refreshingly unpredictable. The characters’ relations to each other grounded in a realistic emotional space that makes their motivations believable, as well as their influences on each other. Ben’s ultimate transformation is complete but not forced, and in a role cast against type, Matthew Broderick brings it to life with vivid clarity.