Critic scores range from 0 to 100, with higher scores indicating more favorable reviews.
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. Read full review
Wrong is more absurd and more laugh-out-loud silly than “Rubber;” it’s also less focused and more pointless. Read full review
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. Read full review
If the premise isn't as attention-grabbing as Rubber's was, the execution should help build the filmmaker's following. Read full review
The movie is flimsy, glib, and occasionally pretty funny. Read full review
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. Read full review
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. Read full review
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. Read full review
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. Read full review
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. Read full review
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