The final story from legendary writer John Hughes was a misunderstood high school comedy

Entertainment · Published 3 October 2026 Swipe more like this →

In short: Released in 2008, Drillbit Taylor marked the final screenwriting credit for John Hughes before his death. Starring Owen Wilson as a homeless man posing as a bodyguard for bullied teens, the film faced a lukewarm reception, yet it remains a curious footnote in the career of a legendary filmmaker.

Drillbit Taylor, directed by Steven Brill and produced by Judd Apatow, arrived in theaters on March 21, 2008. The screenplay, penned by Kristofor Brown and Seth Rogen, was based on an original story by John Hughes, who utilized the pseudonym Edmond Dantès for the project. The narrative follows three high school freshmen who, desperate to escape the relentless torment of two bullies, hire a supposed martial arts expert to protect them. In reality, the bodyguard is a homeless man named Bob who intends to rob the boys to fund a trip to Canada.

The film's production was marked by unusual promotional circumstances. Owen Wilson, who played the titular character, did not conduct traditional press interviews. Reports from the Los Angeles Times suggested this was a strategic move by studio executives to avoid questions regarding Wilson's 2007 hospitalization for severe depression. Instead, the film's marketing relied on Wilson recording television spots for Fox's primetime lineup and a digital presence on WWE.com. The film also featured cameos from figures like Chuck Liddell and Adam Baldwin, the latter of whom made a nod to his own 1980 film, My Bodyguard, which shares a similar premise.

Upon release, the film grossed approximately $49.7 million against a $40 million budget. Critics were largely unimpressed, with the film holding a 26% approval rating on Rotten Tomatoes. Reviews frequently cited the mean-spirited tone and uninspired direction as primary flaws, though Wilson's performance and the cast's chemistry received some praise. Despite the negative critical consensus, the film found a modest audience, selling over 620,000 units on home media. It stands as a complex, if flawed, final entry in the storied career of John Hughes, blending the classic coming-of-age tropes he helped define with a darker, more cynical edge.

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