(Working on organizing it by similar aesthetic.)
Dolph Springer wakes up one morning to realize he has lost the love of his life, his dog, Paul. During his quest to get Paul (and his life) back, Dolph radically changes the lives of others -- risking his sanity all the while.
Despite feeling rather unmoved by Quentin Dupieux's Rubber, I decided to give Wrong a chance after stumbling upon it on Netflix last night. What a pleasant surprise it turned out to be!
Dolph (I laughed whenever anyone said his name, especially when the Pharmacist/Pet Detective referred to him as Adolf) is a quiet, mild-mannered, middle-aged guy who wakes up at 7:60am and starts his quirky adventure in the hunt for his missing dog, Paul.
While the film had very interesting point-of-view shots, great cinematography and a subtle and lovely score, the absurd and humorous story will surely remain the most memorable feature of Wrong.
It is very clear that Quentin Dupieux is an imaginative and creative person with a unique…
People working in an office with sprinklers continuously spraying water.
People dying. And then not dying. And then dying.
Accessing dog turd memory.
A random car painter.
All so very, very Wrong. Yet somehow right. Where Rubber didn't click, this piece of absurd surrealism did.
There is still hope for me and Dupieux.
Existential absurdism that is, most
importantly, utterly and incessantly hilarious.
One of the funniest films of the decade so far, IMO.
"Beaudiful...ver' moving..." - Master Chang
If Rubber was Quentin Dupieux subverting the B-movie genre, this is Quentin Dupieux subverting the David Lynch movie. Whether the beats from Lost Highway are intentional or not, there's an inescapable feeling hanging above Wrong that leaves you longing for a better film. Wrong is by no means a bad film, oh no; it's Dupieux being incredibly brave with a script chock full of inconsistencies and off-the-wall symbolism. There are scenes that ramble on and are out of place in the conventional narrative that the film sometimes reverts to, and although entertainingly strange, this wears a little thin as the film goes on.
Working on the thinnest of plots, Dupieux draws out some cracking moments…
Anti-Humor Absurdist Sketch Show: The Movie: The Sequel: Sort Of
Dupieux drops the social commentary (Or does he? I really have no fucking clue.) and shows that it's not the shit that sticks that's fun, it's the act of throwing it against the wall. Though not especially funny or incoherent enough to elicit more complex brain functions, Wrong - when watched from a distance - combines a precise blend of acting, direction, editing, and a script just absurd enough to evoke that strangely comforting sense of temporary confusion; it's a free drug trip, and I only had to remind myself that I wasn't really losing my mind a few times throughout, and that the world would make sense again after the film. If Rubber rubbed you the wrong way with its moralistic pretensions, and if getting tricked into considering you might be having a mild stroke is your thing, Wrong might be right for you.
There's something odd (or wrong, if you will) with every scene in Wrong. In a good way. But if we put this aside for a moment, it's otherwise a pretty straight forward story about a day in a guy's life. This guy's name is Dolph, and Dolph's dog is lost, he's curious about the home delivery pizza service and he has an office job. And maybe that's all you need to know. Leaving all the crazy stuff for someone who hasn't seen the movie yet to get surprised about. Because there's just a lot to get surprised about, even though this may not be your first Dupieux movie.
This is my third Dupieux movie, all watched within a year. Something…
We are in the realm of Absurdistana. Nothing gives much sense. It rains insode the working place, people don't recognise other people... I liked it.
Quentin here has a uniform fetish and I'm OK with that. This director is awesome and I know that word doesn't mean anything. K, time to write a normal - ish review now.
Wrong follows the (mis)adventures of (A)dolf Springer in his quest to find his dog. A million other problems plague Dolf for no apparent reason. Nothing much of anything makes any logical sense whatsoever and the plot floats from scene to scene and never seems to prioritize one storyline over another. Rude policemen, overzealous pizza shop workers, and mysterious businessmen (with even murkier businesses) populate this weird and wacky world.
First off, I haven't felt this badly for a protagonist since A Serious Man. The sheer number and…
it left me feeling detached from reality and with an impulse towards a even further detachment and honestly i'm 1000% for it
When you can exist in a world outside of all conventions and preconceived knowledge you can exist amongst the dream like ghosts of Quentin Dupieux's worlds. When you let go of what your expectations and order loving brain have told you you will receive when the lights go down and the screen lights up, then you will be taken by the hand and shown the world in a way you never asked for and will never forget.
Quentin tenta recriar um non-sense obessivo, que horas vai muita além da conta. Sua direção é extremamente careta, utilizando constantemente as 3 câmeras em over the sholder. O ritmo dramático se assemelha ao de Napoleon Dynamite, embora aqui a comédia não surja com tanta facilidade.
Quentin dupieux is a fucking genius. everything about this film is so outrageously under exaggerated its amazing
Another strange little film from Quentin Dupieux; a middle ground in pacing and spiteful absurdism between Rubber and Reality. Still has one too many moments that are willfully strange and unnecessary, but it's an engrossing watch due to both Jack Plotnick and William Fichtner's performances, the concept of dog telepathy, and - most interestingly - the notion that spoilers (like being literally told the ending mid-film) do nothing to deter a good resolution as long as the filmmaking is compelling enough.
"Bruno es una mala elección (de nombre) aparentemente, esta demostrado que todos los brunos acaban colgándose".
Deudora absoluta de Ionesco. Más divertida de lo esperado, ciertamente más divertida que Rubber, la que pierde fuerza hacia su último tercio.
Overweight, loveless, wood paneling, empty parking lots, basements, loners, madness, sadness, isolation, depression, fantasy, eccentric, filth, sleaze...
Charlie Kaufman, Todd…