• Released
  • March 29, 2013
  • (Limited)
  • NR , 1 hr 34 min
  • Drama
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83

indieWIRE

By Eric Kohn
In its wonderfully irreverent way, Wrong makes it clear that this reality is never to be trusted as anything more than a succession of strange moments that coalesce into an abstract representation of the subjectivity that traps us all. This is the essence of new film noir, which challenges our perceptions through a series of compellingly ambiguous moments.
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75

Film.com

Wrong is more absurd and more laugh-out-loud silly than “Rubber;” it’s also less focused and more pointless.
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75

The Globe and Mail (Toronto)

Truth be told, Wrong isn’t as funny as "Rubber," which played kamikaze games with horror-movie tropes. The tone here is flatter and more meandering, and more than a few of Dupieux’s digressions feel like dead ends. At the same time, there’s a winning confidence to the filmmaking, which is deceptively stylish.
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70

The Hollywood Reporter

By John DeFore
If the premise isn't as attention-grabbing as Rubber's was, the execution should help build the filmmaker's following.
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63

Chicago Sun-Times

The movie is flimsy, glib, and occasionally pretty funny.
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60

Arizona Republic

By Bill Goodykoontz
Fichtner is always good; just trying to sort out his accent here is kind of fun. Plotnick is the key, however. He plays it straight, even as the world around him grows weirder by the minute. Often he seems confused by the proceedings, which is fitting: Join the club, pal. But we’re having a better time of it than he is.
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60

NPR

Each event's inherent banality is skewed slightly by the actors' matter-of-fact delivery and an external sense of dread amplified by the playfully ominous score, composed by Dupieux.
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50

Austin Chronicle

Plotnick is an appealing actor. He has the same sweetly knit brow and watery blue eyes as Breaking Bad’s Aaron Paul, but his character here is as flat as a pancake. Moreover, if you’ve seen the trailer for Wrong, you’ve seen the movie.
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50

Slant Magazine

It doesn't seem to have any pretensions beyond the regimented unveiling of a parade of odd occurrences, plodding along under the banner of absurdity.
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40

Time Out New York

By Keith Uhlich
Weird for weirdness’s sake gets you only so far, however, and when Dupieux tries to connect all these strange goings-on to Dolph’s corporate-drone despondency, the movie takes a spurious turn toward rancid sentimentality. It seems that even a piece of dog excrement has feelings. Yuck.
Full Review
58 out of 100
Mixed or average reviews
Metascore® based on all critic reviews. Scores range from 0 to 100, with higher scores indicating more favorable reviews.