William Eggleston, Memphis, c. 1969-1970
Ever look back at your life and regret skipping that one class in college that really might have changed things? Film Theory 101 perhaps? Well, now is your opportunity to catch up. Quentin Dupieux's new flick "Rubber" slathers on a healthy enough dose of didactic dross you'll think you just sat through a crit on the first day of film class. Dupieux does with impunity what many have tried and all have failed: the student film as high art. In other words, "Rubber" tries to be stupid, but over explains how stupid its trying to be.
The story revolves around the homicidal exploits of a curious tire named Robert, who pulls himself out of the desert sand to wreak havoc across the sun drenched Southwest. As if to announce their confident lack of confidence in the story, the filmmakers explain away much of the narrative in a "movie inside a movie about movies" motif. If only they had left well enough alone and stuck with the homicidal tire. . . Fortunately, what doesn't hit you over the head, may just mesmerize you. The cinematography, à la photographer William Eggleston (the tire eventually becomes reincarnated as a tricycle) is mighty purty.
If "Rubber" leaves you wanting more, be sure to catch the B movie classic "Killer Condom". Or clock out for 10 minutes and watch both the trailers below:
"Killer Condom" 1996