By Calum Marsh
By Michelle Orange
By Michael Atkinson
By Simon Abrams
By Zachary Wigon
By Aaron Hillis
By Casey Burchby
By Stephanie Zacharek
Written and directed by Quentin Dupieux, Rubber follows the exploits of a tire (listed in the credits as Robert) that figures out how to control its own motion and then rolls through the desert on a killing spree, blowing shit up with its mind. Rubbers methods of address make it far more complicated than we could expect any semi-spoofy, quasi-horror film about a murderous inanimate object with psychokinetic powers to be. The film never attempts to explain how Robert got this power or how it works; where a more conventional sci-fi film would dedicate itself to first revealing the source of this threat and then quashing it, Rubber, with its distinctly post-apocalyptic vibe, dedicates itself to the suggestion that any explanation would be irrelevant. The tires bloody journey is presented through a framing device: An audience of about a dozen tourists watches Roberts adventures from afar through binoculars. Slowly closing the space between the viewers and the actors until theyre part of the same drama, Dupieux mounts a critique of passive audiences thats also sympathetic to the way theyre made to suffer. The voyeurs get whats coming to thembut Dupieuxs final images confirm that Hollywood is his real target. An essay on storytelling and spectatorship within When Inanimate Objects Attack schlockone infused with the haunting aura and disillusionment of a postEasy Rider road movieRubber is some kind of miracle.
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