The director's previous effort "Rubber" was the barest, weirdest of ideas – a telekinetic tire on a murderous rampage – turned into a full-length film. While enjoyable for most of those who saw it, it often functioned better as a trailer or even just in concept, rather than as a 85-minute feature. For "Wrong," Dupieux again serves as director, screenwriter, editor, and cinematographer, but in the years since, Dupieux has grown as a filmmaker. We wouldn't argue that he approaches narrative from a textbook perspective like many of his peers, but he has developed a more cohesive story here, doing more than jumping from tire murder to tire murder (or its "Wrong" equivalent).
Boasting hair that nearly rises to Henry Spencer heights, Plotnick is wonderful at being alternately fine and exasperated with the bizarro world he's living in (and occasionally creating himself). In Plotnick's hands, Dolph doesn't feel like he's a part of an avant-garde experiment or like he's in on the joke (and there are plenty of jokes); instead, he's playing it straight, making "Wrong" all the more interesting for the viewers. He vaults from hilarious to heartbreaking, and while he's ever serious, his background on "Reno 911" is certainly worth noting for its likely contribution to his ability to function amidst the entertaining chaos.
There are oddities both large and small throughout the film, ranging from a clock that changes from 7:59 to 7:60 to momentous ones that leave the audience in near-constant "WTF?" mode. "Wrong" may have its darker moments (tone is certainly an issue), but its director is playful and more than a little silly at times. He can be weird for weird's sake, but we were still in awe, wondering, "Where did that come from?" It's hard not to giggle at most everything you're seeing, particularly when the strange is treated as normal. As cinematographer, Dupieux utilizes a naturalistic, often literally sunny approach, belying the film's utterly surreal look at the world (or Dupieux's version of it). However, his use of focus is often more distracting than effective.