Comedy, Horror, Satire, Science Fiction

Rubber (2010)

0 Comments 27 April 2011

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rubber_filmRubber (2010)

April 27, 2011 | Comedy, Horror, Satire, Science Fiction

Rubber (2010)
Rubber Burns Itself Off Too Quick
By Nick Schwab

In conception, the film Rubber– a film about a killer, telekinetic tire on a rampage in the desert– seems like a cult goody to brag about to your friends that you have actually seen a movie about just that. In reality, the film is only as good as that initial-“gnarly dude“– reaction. Its idea simply goes flat way too quick.

Good films are made that by it changing the audience’s perception more than how it utilizes a unique idea or concept. Take a film such as The Texas Chainsaw Massacre (1974)– of which Rubber does note as being “excellent”– and its extreme sense of dread and disarray altering one’s sense of safeness to drag them down to the pit of hell. However, the actual narrative– a group of kids visit a rural house and are slaughtered– is more-or-less nil, and its story’s originality is even less.

Rubber does not have much in the way of story or plot. In terms of its logic, the film repeatedly states it smarmily as simply, “no reason. ‘ That would be fine if it had something palpable to grasp onto in terms of sensations more than its one-note and one-joke presentation. Unfortunately, for most of the runtime, it tries to make half-baked and unfunny connections between the audience and their reaction to movies. Therefore, it draws lines in the ground and actually comes off alienating in the process.

As in Rubber, much like Jennifer Lynch’s 2008 film Surveillance, Director Quentin Dupieux makes the film more heavy-handed than it should be. This uncertainty of how to proceed with its out-there elements comes off as trite and even pretentious. A film as unusual as this should have a few memorable scenes that showcase its sense of oddity. Since there is nothing that reinvents the genre, nor creates a lasting impression, the films acts as a joke without a punch line and is thus pointless.

This unremarkable flick also reminds one of the teeny-bopper Scream franchise in which it seems like the whole purpose of the film is to show the audience how clever the filmmakers are. Yet, the wink-wink only garners an awkward shrug most of the time. This is no exception, as Rubber’s self-referential scenes often come across as being inserted to pad the run time more than to advance its story-free narrative.

Upon viewing Rubber, one would probably have to be reminded that there is nothing more frustrating than a film that could have played with conventions for an original effect, more than it joyfully parades them. As Rubber instead comes off unimaginative and repetitive, and even if one could possibly argue that Dupieux’s point is to have the killer tire do everyday human-like practices such as drink water and watch TV, it is nowhere near as entertaining or thrilling as you would hope the concept would dictate.

Despite its many bad qualities, the final few minutes make Rubber seem like it could have had more to offer.

In the scene, a police officer seems to take out the main enemy in very quick fashion. This is contrary to what one would expect in these films that often would depict an epic battle. Soon later, a new threat is created. While this gotcha scene is cliché it finally has a fun, pulpy-cult quality graciously written all over it.

It is then, as the end credits roll, that a cult-film connoisseur may utter a phrase for the first time in history: “Remake it!”

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