Wonderful World is a 2010 dark comedy drama film written and directed by Joshua Goldin, and starring Matthew Broderick, Sanaa Lathan, Michael K. Williams, Jodelle Ferland, Jesse Tyler Ferguson, Ally Walker, and Philip Baker Hall.

Club's Scott Tobias and Entertainment Weekly's Owen Gleiberman both gave the film an overall C grade, the former calling it "a paint-by-numbers tale of redemption for a man whose wounds are mostly self-inflicted" and the latter saying, "[I]t's all very sincere, but watching a dweebish depressive learn that Life Is Good is a lesson of diminishing returns.

"[7][8] Nick Schager of Slant Magazine called it "a checklist-indie that offers up clichés with gusto equal to that of its earnestness", criticizing Dan Zanes' "sorrowful score" and Ben's overall arc feeling "stock" and having "doggedly implausible" circumstances that lead to a "preordained conclusion", concluding that: "Goldin's mush about learning to stop and smell the roses is pretty close to being bottom-of-the-barrel.

"[9] James Berardinelli felt the film was "lightweight and inconsequential" with its subject matter when compared to the similarly themed The Visitor and is hampered by "unconvincing performances" led by a "woefully miscast" Broderick, concluding that: "I suppose Wonderful World could be considered a "feel good" motion picture, but it's the kind of movie in which the upbeat ending doesn't wholly justify the discomfort of getting there.

"[10] Frank Scheck of The Hollywood Reporter praised the performances of Broderick, Ferland and Lathan, and wrote about Wonderful World overall: "While the film easily might have gone in an overly treacly direction, Goldin manages to avoid it, thanks to some unpredictable plot twists that subvert our expectations based on years of feel-good movies.

"[12] Stephen Holden of The New York Times praised Broderick for emitting "the right attitude" for his role and the soundtrack's mixture of "African guitar music" and "folk-pop songs" for giving off "little dashes of ebullience" and "a whimsical sweetness" respectively, but was critical of Philip Baker Hall's "infrequent" appearances throughout the movie, concluding that "he throws this delicate, intelligent film, which at its best suggests a muted hybrid of The Visitor and It's a Wonderful Life, off balance.