(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…
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.
It took me a while to decide what I thought of Wrong, and I'm still not entirely certain. It feels odd to give this rating. I unequivocally loved Quentin Dupieux's Wrong Cops. The aesthetic and humour instantly appealed to me, so I don't think my difficulties in judging Wrong is anything to do with being uncomfortable with Dupieux's style and comedic leanings. Though I never flat out disliked Wrong, there were times, especially early on, where I felt like its general weirdness was forced, or at least not delivered with the same precision witnessed from Wrong Cops's incredible cast. But as the film ticked by, I started to accept that while I wasn't going to find this as funny as…
Grade A existential/absurdist comedy.
Crazy shit.... Hat irgendwie was...
Quentin Dupieux's experimental film is something completely unique. It features a surprisingly committed performance in what can only be described as Surrealist take on modern life captured within a simple story of nice guy just trying to find his beloved pet dog. It is an odd, twisted, frustrating, funny and often disturbing journey that form a whole new kind of film.
My favourite Dupieux film to date, mostly because there was a nice balance between tangible dramatic themes and absurdist comedy situations. Also, any directors who score their own films win me over every time.
"Wrong"...In der ersten Einstellung verrichtet ein Feuerwehrmann auf einem Parkplatz zu elektrischen Klängen Zeitung lesend sein Geschäft. Seine Kollegen und ein brennender Van beobachten ihn dabei//Schnitt//Die Hauptfigur wacht um 7:60 Uhr auf und vermisst ihren Hund...
Der Name des Films ist wirklich Programm. Alles ist einfach nur falsch, total entrückt und völlig wahnsinnig. Dabei aber so leicht und liebenswürdig, dass man sich auch irgendwann nicht mehr über eine Palme wundert, die zu einer Tanne wird und bei einem Reisebüro mit Indoor-Regen am Arbeitsplatz einfach nur noch abwinkt.
Tolle Schauspieler, kreative Ideen und ganz wunderbare Musik, Dialoge und Szenen. Quentin Dupieux hat nach Rubber hiermit noch einen Knaller abgeliefert.
Top 200 is pretty definitive. Essentially the top/most memorable 20-25% of all the films I've seen in my life (which…