Goliath (2023)

“Goliath” nevertheless manages to feel as big as its subject, shedding light on a figure who, misunderstood or not, seemed larger than life in every conceivable way.

Not that “Goliath” is all hagiography. The series spends a considerable amount of time examining Chamberlain’s frustration at his teams continually being bested by Bill Russell’s Boston Celtics, which resulted in Wilt being labeled a perpetual “loser.” The filmmakers also address the dichotomy of Chamberlain having a famously lavish and hedonistic lifestyle, and supporting female athletes.

The delivery by Robot Chamberlain seemed stiff. The recurring shadow-puppet motif—to which the directors resort when their story lacks corresponding film footage—exacerbates the sense of artifice. It may be a case of knowing too much. Regardless, the flesh-and-blood humans who appear throughout "Goliath" are refreshinglsy candid, informative and likable, even if the lineup is a bit dubious.

“Goliath,” directed by Rob Ford and Christopher Dillon, is a more workmanlike and conventional project than “Luckiest Guy.” But across three episodes it makes a persuasive case for Chamberlain as a generous, sensitive soul who was both blessed and constrained by his stature and his extraordinary all-around athletic ability.