Mixed or average reviews - based on 17 Critics

Critic score distribution:
  1. Positive: 9 out of 17
  2. Negative: 1 out of 17
  1. Reviewed by: Eric Kohn
    Mar 26, 2013
    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.
  2. Reviewed by: Andrew O'Hehir
    Mar 27, 2013
    As this wry, dry and glittering near-masterpiece proclaims, life is full of wrongness, but also full of mystery and wonder.
  3. Reviewed by: Adam Nayman
    Apr 18, 2013
    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.
  4. Reviewed by: Marc Mohan
    Apr 7, 2013
    Wrong never feels dangerous or truly challenging, content generally to amuse rather than amaze.
  5. Reviewed by: Eric D. Snider
    Mar 30, 2013
    Wrong is more absurd and more laugh-out-loud silly than “Rubber;” it’s also less focused and more pointless.
  6. Reviewed by: Alan Scherstuhl
    Mar 27, 2013
    The film's heady buzz is invigorating, and there are substantial pleasures—and laughs—to be found in all its real-life-just-gone-sour strangeness.
  7. Reviewed by: John DeFore
    Mar 25, 2013
    If the premise isn't as attention-grabbing as Rubber's was, the execution should help build the filmmaker's following.
  8. Reviewed by: Tasha Robinson
    Mar 27, 2013
    It’s a Dada daydream of a movie, but no one who sits through it can complain that they weren’t warned up front.
  9. Reviewed by: Ignatiy Vishnevetsky
    Mar 27, 2013
    The movie is flimsy, glib, and occasionally pretty funny.
  10. Reviewed by: Joel Arnold
    Mar 29, 2013
    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.
  11. Reviewed by: Bill Goodykoontz
    Mar 28, 2013
    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.
  12. Reviewed by: Leah Churner
    Mar 27, 2013
    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.
  13. Mar 25, 2013
    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.
  14. Reviewed by: Dennis Harvey
    Mar 22, 2013
    A curious tale about a man searching for his missing dog in a suburban bubble where everything is a little askew, has some laughs, but it doesn’t take long for the absurdist humor to pall among a pileup of nonsensical ideas that would be funnier if grounded in a less hazy concept.
  15. Reviewed by: Mark Olsen
    Mar 28, 2013
    "Rubber" felt inventive and complex, but here Dupieux's absurdism is simply muddled, masking the fact he doesn't really have much to say.
  16. Reviewed by: Keith Uhlich
    Mar 26, 2013
    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.
  17. Reviewed by: Nicolas Rapold
    Mar 28, 2013
    Wrong lets most of its random gags and view-askew premises twist in the wind like hamhandedly wacky improv comedy, punctuated with synthesizer effects. The film’s misguided flatness is perhaps its fatal flaw, not so much deadpan or existential as just monotonous.

There are no user reviews yet.