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[Editor's note: If anyone says 2010 was a sh!% year for movies, please refer them to this post.]
Instead of the usual "best" or "worst" films of the year lists, I thought a good way to take a look at the highs and lows of the 2010 film year would be to compile almost every single review we published in 2010 and let readers meander through the wasteland as it were.
I'm really amazed at the range of films we managed to cover from around the globe this year. Quiet Earth has certainly come a long way over the years and it's really due to the talents and passion of our team of writers who literally travel a world of fests to bring news and reviews of new films.
I hope you're all taking notes. Many of these films were from fests and will probably be hitting VOD and Blu-ray sometime in the new year, so this is a good chance to get a start on your must-watch lists.
Having gone to three film festivals in 2010, I had my fair share of chances to watch some strange films, but none were weirder or more entertaining than Quentin Dupieux's Rubber. The story of a psychic tire named Robert who goes on a murderous rampage, the entire movie is dedicated to the idea 0f no reason. I absolutely loved the film when I saw it at AFI Fest and now you too will get the opportunity to watch a piece of rubber vibrate and cause people's heads to explode. Bloody Disgusting has learned that Magnet has set a schedule for the film's release. According to the site, Rubber will be available on-demand starting February 25 and a limited release run starting on April 1. You can read my review of the movie here and I highly recommend that you hunt it down when it becomes available. I will offer the disclaimer that »
One of the films that featured prominently on the 2010 festival circuit, but didn't get a 2010 U.S. release, was Quentin Dupieux's art house thriller Rubber. Starring a rolling, silent, killer tire , the concept alone is enough to get you into the theater. Thankfully, Dupieux then delivers the goods: a surprising blend of horror and meta-dissection of movie watching itself. After playing Cannes, Fantastic Fest, AFI and others, Rubber is finally going to get a proper release. Magnet will release the film to Video On Demand on February 25 and then theatrically on April 1. Read more after the break. Thanks to Bloody Disgusting  for the heads up on the release. April 1 will see Rubber released against Darren Lynn Bousman's Mother's Day, Duncan Jones's Source Code and James Wan's Insidious . The first two films, however, will be in wide release while Insidious and Rubber will be limited. There's a »
- Germain Lussier
The bizarre-o festival flick which earned some praise here on Shock , Quentin Dupieux's Rubber , is ready to make its debut in the U.S. via Magnet Releasing. The film will hit VOD on February 25 with a limited theatrical run to follow on April 1. Synopsis: Robert, an inanimate tire that has been abandoned in the desert, suddenly and inexplicably comes to life. As Robert roams the bleak landscape, he discovers that he possesses telepathic powers that give him the ability to destroy anything he wishes without having to move. At first content to wreak havoc on small desert creatures and various lost items, his attention soon turns to humans, resulting in the most gory vehicular-related mayhem inflicted on screen by an "inanimate" object since Christine. »
Imagine if David Lynch had directed Jaws with a tire instead of a shark as his villain, and you'd have a pretty good idea of what Rubber is like. But that's just half of what Quentin Dupieux's post-modern smorgasbord of Rod Serling inspired bizarreness has to offer. Instead of just stopping at the absurd notion of having a tire blowing people's heads up, the film throws its audience for a loop, introducing it as a film with a film that ends up crossing over and disrupting reality, resulting in one of the most unique cinematic experiences in quite some time. »
It took three years, but Machete, whose fake trailer showcased before the B-picture homage Grindhouse, finally hit the cineplex. Anyone who found themselves excited by that teasing coming attraction will no doubt be satiated by the relentless onslaught of over-the-top violence, extreme gore, unnecessary nudity and cheap laughs that directors Rodriguez and Maniquis deliver in it’s full-length incarnation. Sugarcoat it with a dose of political satire and Machete is everything The Expendables should have been – self-aware, flashy and fun.
Rodriguez does a good job in updating a gritty, gory genre. His pic made-on-the-cheap mimics the grind house aesthetic right down to the choppy edits, 70′s style opening credits, the tongue and cheek use of funky soft core porn music (provided by Rodriguez’s band Chingon) and the grainy cinematography. More so the director summons influences of American Westerns and »
By Ali Naderzad - December 15, 2010
When music and cinema are allied together. From French electro musician Mr. Oizo, aka Quentin Dupieux ("Steak," "Nonfilm"), comes "Rubber," a smart, funny and completely original tribute to the cinematic concept of "no reason."
"Rubber" is the story of Robert, an inanimate tire that has been abandoned in the desert, and suddenly and inexplicably comes to life. As Robert roams the bleak landscape, he discovers that he possesses terrifying telepathic powers that give him the ability to destroy anything he wishes without having to move. Why? No reason...
At first content to prey on small desert creatures and various discarded objects, Robert’s attention soon turns to humans, in particular a beautiful and mysterious woman who crosses his path. Leaving a swath of destruction across the desert landscape, Robert becomes a chaotic force to be reckoned with, and truly a movie villain for the ages. »
- Screen Comment
It’s easy to dismiss French writer-director Quentin Dupieux’s latest effort, “Rubber,” as “that killer tire movie.” But the truth is that it’s a lot more sophisticated than many of the ones that actively claim to be “about” something; in fact, it examines the relationship between an audience, art and the artist, while also being about, yup, a tire that develops the ability to blow up people’s heads.
Directed by Quentin Dupieux
Rubber is solid but overstretched.
It would have made an excellent short film. It is cleverly plotted, expertly performed and has a shining technical skill to each scene. What it doesn’t have is much respect for the audience. It is as subtle as an exploding head and as overly long as a Michael Bay epic.
I clued onto the sense that the audience was the butt of an 85-minute long joke when the audience in the movie itself was poisoned. You read that right—Rubber features an actual audience in the universe of the film’s narrative, there to observe the story of Robert, »
- M C Funk
Anyone who has seen "Rubber" during its most unlikely of festival runs will know what a big deal it was for the film's star, Robert the tire, to finally roll into Hollywood last weekend for its premiere at AFI Fest, where the guest of honor donned a bowtie for the occasion and posed for pictures at the film's afterparty. That audience members would want to pose with a tire they had just seen crush bugs, explode rabbits and eventually blow up the human population of a small desert town with its mind is a testament to the strength of the simple idea at the core of Quentin Dupieux's sharp absurdist comic thriller.
A tribute in some ways to films like Steven Spielberg's "Duel," but on one wheel instead of four, the instant identification of "Rubber" as "that killer movie" has made it an easy recommendation among festivalgoers, yet »
- Stephen Saito
Quentin Dupieux.s Rubber opens with a man in a police uniform emerging from the trunk of a car and speaking directly to the audience. Why, he questions, was Steven Spielberg.s E.T. The Extraterrestrial brown? Why were the two leads in Love Story so infatuated with each other? Why did we never see anyone in Tobe Hooper.s The Texas Chainsaw Massacre go to the bathroom or wash their hands? The answer to all of these questions is the same: there is no reason . and that.s exactly what Rubber is all about. Abstract and nihilistic, the film centers on a worn-out tire named Robert who one days digs himself out of the ground and proceeds to use his telekinetic abilities to blow up people.s heads. Only making things that much weirder is that the narrator mentioned above is some sort of bizarre puppet master named Lieutenant »
Director: Quentin Dupieux
Writer: Quentin Dupieux
Review by: Marina Antunes
Rating: 7 out of 10
So everyone wants to know if the movie about the serial killing, telekinetic tire is any good. I guess it depends on your interpretation of good. If you’re looking for a wacky, ultimately silly story you’re in for a real treat whereas if serious, “meaningful” film is more your cup of tea, you might not want to hold your breath for Quentin Dupieux’s Rubber.
That’s not to say that the film doesn’t have a little something more going for it. I expect that in the coming year or two we’ll likely see a 2,000 word essay which explores and tries to explain the importance of the crowd watching the story unfold (I’m actually quite surprised that essay hasn’t turned up already) but as the end credits roll, »
The 9th annual Lausanne Underground Film Festival may just run for a mere five days in Switzerland on Oct. 20-24, but it hits with the force of a 10p-ton megaton bomb over that time period, packing in so much mind-boggling underground madness it’ll make your head explode.
Every year, the fest feels like 5 or 6 festivals crammed into one. There’s the fest that pays homage to the history of experimental filmmaking, there are the retrospectives of several cult festivals, a feature film competition section, a short film competition section and more.
Three filmmakers are especially getting major retrospective love this year. First, there’s legendary Canadian experimental filmmaker Michael Snow who will be in attendance at screenings of his classic films Wavelength, <–> and La région centrale, plus several of his other short films.
Also being feted are German extreme horror filmmaker Jörg Buttgereit, who will attend screenings of his classic Nekromantik, »
- Mike Everleth
And a drum roll, please, because here are the winners from the 2010 Sitges Festival.
Oficial FANTÀSTIC COMPETICIÓ Sitges 43
Jurat / Jurado / Jury
Millor Curtmetratge / Mejor Cortometraje / Best Short Film
The Legend Of Beaver Damm de Jérôme Sable
Menció Especial pel seu original homenatge a una indiscutible obra mestra del cinema fantàstic / Mención Especial por su original homenaje a una indiscutible obra maestra del cine fantástico / Special Mention for its original tribute to one of the undisputed masterworks of the fantastic cinema
Vicenta de Sam Millor
Disseny de Producció / Mejor Diseño de Producción / Best Production Design
Yuji Hayashida per Thirteen Assassins
Millors Efectes de Maquillatge / Mejores Efectos de Maquillaje / Best Make Up FX
Vitaya Deerattakul & Andrew Lin per Dream Home
Millors Efectes Especials / Mejores Efectos Especiales / Best Special Effects
Millor Banda Sonora Original / Mejor Banda Sonora Original / Best Original Soundtrack
Seppuku Paradigm, »
Let’s cut to the chase: Quentin Dupieux’s “Rubber” looks fantastic, though I completely understand why certain readers may be a little reluctant to embrace a motion picture that follows the adventures of a disgruntled tire that frequently causes people’s heads to spontaneous combust. The latest trailer — which arrives courtesy of Twitch — gives prospective viewers a glimpse of the picture’s inherent sense of humor, which, I think, is essential to making this sort of movie work. Absurdity is generally best when served with a few knowing chuckles. Then again, that’s just my opinion. Here’s hoping someone picks this thing up for distribution Asap. »
- Todd Rigney
[Why do I insist on republishing this review of Rubber every time it pops up and conquers a film festival? No Reason. Why did Sitges program it at 10am on a Saturday after a big Friday party night in this wonderful resort town? No Reason. Why should you wake up and check it out? There are plenty of reasons, first and foremost, is that it is a gem, secondly, this intro will make sense after you have seen the film's whopper of a prologue.]
A moment early on in Quentin Dupieux's delightfully absurd Rubber has the titular tire rising out of the primordial sands of the southwestern united states desert to ascend to some form of intelligence. There is no Also Sprach Zarathustra on the soundtrack, but the scene plays like a riff on the opening minutes of 2001: A Space Odyssey (yes, seriously) especially when the 'moment of intelligence' turns to violence. Spinning bone to rolling vengeance, as cinemas first serial killing goodyear is set loose. But Rubber is no run-of-the-mill manufactured cult film. It is a treatise on why we watch films and why people (or at least the French) make films. The glib answer would be, "No Reason" and Rubber has an highly entertaining fashion to get that point across early. But ultimately it is a filmmaking challenge of a similar sort to Haneke's Funny Games. Only, uh, well, significantly more funny. »
An angry tire has been rolling through the desert exploding people's heads and local law enforcement is none to happy about it. This is the thrust of the latest trailer to arrive for cult festival hit Rubber.
Directed by Quentin Dupieux - aka electronic musician Mr Oizo - this is exactly what the label says it is: the story of an angry tire rolling through the desert exploding people's heads. Really. They're still keeping the head explosions out of the public eye but you can get a good taste of the film's absurd humor in the trailer below.
Filed under: Reviews, Horror, Cinematical
If there was ever a film designed to question convention, "Rubber" is that film. French writer and director Quentin Dupieux manages to take an inanimate object, instill in it sentience, then have it roll around and blow stuff up. Encapsulated in its own little world, "Rubber" is a film that exemplifies absurdity and doesn't try to be anything else; although the intended result was indeed achieved, the film suffers from its limited premise. Following a snazzy intro to set the flick in motion, we're given a slightly plodding film with a few laugh out loud moments that ends way sooner than it should.
'Rubber' has no plot to speak of, though I suppose that's the point. The film opens with our eponymous tire becoming aware of its abilities to blow stuff up and roll around. Much like a child learning to walk, it »
- Brad McHargue
No reason. That's a safe moniker to throw at your audience, particularly when your film is about a rubber tire named Robert with a taste for blood. This is the general premise behind Rubber, the new French film from Quentin Dupieux (aka Mr. Oizo), that opens up the idea that anything goes right at the beginning. As Stephen Spinella's Lieutenant Chad explains to us in the film's opening monologue, questioning what you are about to see is as inane as asking why E.T. is brown. No reason. Why did the people in Texas Chainsaw Massacre never wash their hands? No reason. If trivial questions like those can be viewed as meaningless within the confines of the world of cinema, larger, much more pointed questions, questions like why was Kennedy assassinated in Oliver Stone's film, JFK, (again, as Spinella tells us, there was no reason) could have meaningless consequences, »
- Jeremy Kirk
Ladies and gentlemen, say hello to Sitges 2010:
Exorcisms, Vampires, Zombies, Martial Arts And Liters Of Blood At Sitges 2010
The 43rd Sitges - International Fantastic Film Festival of Catalonia, that will take place from 7 to 17 October, presents its lineup, with some films still to be confirmed, for the following sections:
Sitges 43 Official FANTÀSTIC Selection - In Competition
The official selection par excellence will be offering a lineup emphasizing a variety of nationalities (Bulgaria, Japan, France, Swede, Uruguay,...), the impact of new South American cinema, the rebirth of oriental cinema and the mixture of supernatural horror movies with exorcisms, vampires and mutants and everyday horror with real extreme violence.
13 Assassins (Takashi Miike, Japan)
14 Days With Victor (Román Parrado, Spain)
A Woman, A Gun And A Noodle Shop (Zhang Yimou, China, Hong Kong)
Bedevilled (Jang Cheol-soo, South Korea)
Confessions (Tetsuya Nakashima, »
1-20 of 92 items from 2010 « Prev | Next »
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