Reseñas de la crítica

It's a hilarious sleight-of-hand that Dupieux, bizarrely, isn't cynical about, which helps prevent his low-budget, frisky exercise in filmic pointlessness from ever feeling like a case of spinning wheels.

It's arch, quirky stuff and, approached in the right spirit, rather entertaining.

The sheer, insouciant silliness of this film is engaging... Sometimes I sensed something a little conceited about "Rubber." But it's a road movie with a difference, that's for sure.

‘Rubber’ is the worst kind of indulgence, a snickering, self-satisfied (albeit lovingly constructed) hipster in-joke which never comes close to justifying its own existence.

At nearly an hour and a half, it's a mighty long stretch of two-lane blacktop for a Dada-esque prank that could've been considerably more substantive – not to mention subversive – had it been worn into an explosive 20-minute short.

French director Quentin Dupieux is borrowing themes and tropes from '70s American cinema to make something that's more like a Godardian anti-movie than a laff-filled spoof... Whatever way you look at it, "Rubber" certainly isn't the same-old, same-old... It will irritate many and delight a few.

While it can be seen as an environmental horror movie (if you must), “Rubber” doesn’t dig down but instead merrily rolls on, as Mr. Dupieux plays with narrative and form.

What sets Dupieux's film apart is its unexpected secondary dimension: an absurdist meta-commentary on cinema itself that hilariously articulates the notion that the movies stop existing the moment we stop watching, like the sound of an unobserved tree falling in the forest.

An arch, Dadaist twaddle... while it’s admirably perverse for a “killer-tire movie” to be this snooty, ["Rubber"] is about half as clever as it thinks it is.

An essay on storytelling and spectatorship within When Inanimate Objects Attack schlock—one infused with the haunting aura and disillusionment of a post–"Easy Rider" road movie—"Rubber" is some kind of miracle.

Quentin Dupieux’s utterly zany slice of narrative subversion transcends that singularly goofy premise to create one of the more bizarre experiments with genre in quite some time. With playful self-reflexivity, Dupieux uses his central gimmick to satirize the nature of cinematic conceits.

Dupieux is up to randomness for randomness’s sake. Which would be acceptable if "Rubber" were anywhere near as ludicrously amusing as its scenario necessitates. Instead, Dupieux treats his material with a pretentiousness and dreary lack of imagination that makes it borderline interminable.