This declaration comes in the amazing opening scene in a masterful monologue which not only breaks the fourth wall but sets the surreal tone and absurdly original path that the rest of the film follows through the wacky world which Robert the killer tire inhabits.
The story, which we watch along with a group of tourists with binoculars standing out in the desert offering analysis and commentary like a modern day Greek chorus, follows Robert a tire who awakes to find not only that he is alive but that he has psychic powers which he can use to explode things.
Employing his powers on bottles, cans. bunnies and crows, sadly for the human race it is not long till one of our number upsets this wicked wheel shaped anti-hero and Robert sets about using his mad mental powers to carry out a head exploding rubber rampage killing anyone who get in his way.
As we and the audience amassed up on high watch on as brains blow up the police start the hunt for their suspect who is black, spherical and all weather ready even though their Lieutenant Chad knows there’s no point as its all only a film. But is it?
Rubber is the work of one mans warped mind Quentin Dupieux who wrote, directed, edited and composed the soundtrack for the movie as well as handling the camera and cinematography all to a very high standard.
Dupieux is better known to the outside world as dance music producer Mr. Oizo whose 1999 track Flat Beat gave us all a catchy song and a jeans commercial he directed staring an odd looking puppet called Flat Eric.
In the same way Dupieux brought a yellow sock to life in his advert the biggest achievement of Rubber is making an everyday inanimate object such a sympathetic anti-hero. In a world populated by stereotypes and deliberately rubber performances Robert the serial killing tire commands the audiences attention.
Archived by using a combination of brilliant effects, to animate him and his brain blowing powers, and archetypal plot devices to make us care about him we are hooked from the start despite Dupieux’s constant challenging of our role as an audience and the constructs of cinema itself.
Rubber is fundamentally a B-movie horror film with plenty of telekinetic blood letting and cheesy horror clichés and it is the surreal elements which provide the most innovation and originality creating moments of great confusion and comedy. It is these moments however that may also cause some viewers to switch off mentally and literally and Dupieux’s film will definitely divide audiences opinions.
Although it’s not short on ideas Rubber does feel a little like an extended short and losses some of its power and pace towards the end although overall its still a very enjoyable and very well made movie.
There may be no reason to Rubber but that doesn’t stop it being insanely original and wickedly fun.