Too much of everything

Pretty Good

It's simply great fun, a winsome film and an occasionally over-the-top luxury fantasy that never flags.

It's easily one of the freshest, sharpest and most enjoyable films of this year.

Why do I have this very strong feeling that this writer has issues with women? I really enjoyed this movie... at first. I watched it almost three nights in a row halfway through right before falling asleep because of its refreshing dreamlike quality (and containing a handbook much like Grandma Death's from Donnie Darko)......... until I realized that this guy is a hater and that every single woman in this film is either a cold b**** (ex-coworker & ex-boss) or a warm w**** (girlfriend) who apparently deserves(?) to be stabbed in the gut in the end with a broken wine bottle for no reason at all. It doesn't make sense. Honestly there seems to be little point to it except that the guy/writer really loves his dog; and is crying out for help and needs some therapy in a locked down facility.

--WARNING: There may be some spoilers ahead for those who haven't seen the film, so just a heads up. In order to accurately review this film, it may be necessary to talk about some key moments.--Wrong is exactly the kind of film that is made to polarize both the audience and critics alike. It's dry take on absurdest humor thumbs it's nose at the big budget and sensible films of today. Having seen Rubber already, I knew the nature of Quentin Dupieux in terms of his film making trademarks and surreal narratives. Thankfully, Wrong manages to be a charming entry into his already extremely unique take on movies.The film is in short, is about a man who's Dog is kidnapped and what ordeals, however random they may seem, he goes through to get his pet back. The film is rarely uninteresting if for any reason simply for it's absurdity. However, if there is one thing that hurts a film like this, it's in how predictable it can be at times, since it's absurd events are almost expected too much so. For a film that seems to go all in on the ridiculousness of it's narrative, it feels like a one trick pony. As the film progresses, it falls comfortably into a series of haphazard incidents with a simple story laced in between each segment that struggles, willingly, to tell a complete and competent story. Many things are never explained, and the movie, just like Rubber, has you ready from the get go to not get too emotionally invested, given the lack of sense that piles on during each segment. Only Wrong doesn't spell it out at the beginning like Rubber did, however, I would recommend this film as an introduction into his work rather than Rubber, which is far less accessible. It's hard to knock Wrong it for it's broken structure, since it's sort of the point of the film. It pokes fun at logic, sensibility, work place dynamics and perceptions of self-worth, as well as making light of social issues; but does so in such a way that it's hard to gain any clear insight into any of it's intended message, if even there exist any.Watch Wrong if you want to see an art-house experimental film on perhaps one if it's more easily digestible and charmingly demented levels, but if your not much for movies that merely exist to send you on a head trip, then don't watch this one. I enjoyed it, but it's not hard to see why many won't.

Watched the first 23 minutes, hoping for a moment of some sort of meaning or satisfaction or anything that could be classified as "good". It never came. That 23 minutes was lost time of which I didn't enjoy any... After that, I fast-forwarded to the middle, then towards the end.. Very stupid and boring... Worst thing I have "seen" so far this year, and possibly one of the worst moves ever made, even though the actors are pretty good. It doesn't matter how good the acting is, however, if it is all just a bunch of nonsense that was created for no reason I can think of, other than with the objective of being absurd. I'm completely in agreement with the other two folks who gave this a one. I think anything about 2.5 or 3 is misleading. I was expecting this to be great based on the rating and was disappointed.

Saying that Wrong, the new film by French director and lover of all things non-sequitur Quentin Dupieux, is strange does the film somewhat of an injustice. Not because the movie surpasses the limits of strange (although, to be fair, it does), but because strange implies something nonsensical, content that defies explanation or logic. Wrong is a film that, despite being so bizarre, manages to come around full circle and make sense at the end. All its surreal imagery has purpose at the end, and the film is at its strongest at the last moments where one can step back and appreciate it as a whole.Wrong begins with Dolph Springer, a man who inhabits a slightly off- kilter universe in which trees "make sense" based on their own unique place and offices shower their seemingly unaware employees with torrential rain. He is a simple man: he goes to work every day and enjoys the company of his gardener Victor, a man who seems to be forcing an unneeded French accent. Dolph wakes up one morning to find his dog has gone missing, and embarks on a journey to rescue his pooch from whatever peril it seems to have run across. To summarize the movie any more would be a disservice, as the best part of the film is the pleasant little surprises that come along the way.What I can tell you is that the film is absolutely absurd. From William Fichtner's restrained but subtly outrageous performance as this world's version of a zen master to a strange sequence that refuses to define itself as reality or dream, there is enough outlandish content to fill any surrealists imagination. Although these elements are certainly bizarre, it still feels like they deliver a message. They contribute to a feeling that there is something deeper being said, and by the end one walks out with a feeling that Dupieux subtly and ever so brilliantly schooled the audience.That being said, the movie has problems. For large chunks of the film, especially during a tour of a small animals digestive tract (don't ask), it feels like the director is treading water. In fact, I would go as far as to say that a good quarter of the movie loses its surreal edge, and becomes more than a little monotonous. These scenes clog the movie, and get more than a little frustrating as it holds back an otherwise breezy and enjoyably silly movie.It's a shame I can't go deeper into the movie, to explain the emotions that built inside me by the end or the flaws that made the movie shy of greatness. It's a movie that works better the less you know about it, plain and simple.