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Promoting this as new-era trendy eighties-like conscious entertainment almost feels like Oizo's own premeditated move, because in all other respects it's Buñuel all the way, and serves as a forerunner to the director's latest cut thus far, Reality, far better than the more mainstream Wrong Cops. While Dupieux irritates me a bit, since he abdicates responsibility for anything right from the start and his recognizable visual style (static, aperture-overexposed super-sharp digital shots, longer than the time demands) also takes the wind out of my sails, yet as an existentially nihilistic comedy it still does what it wants while somehow staying mysteriously coherent. (03.04.2016)

Rubber has been waiting for a long time for me to get to it. This movie, starring a Goodyear tire, is actually something you don’t see every day. You will probably never see anything like it. And quite possibly, you will not even want to see it again. Mr. Oizo simply makes such movies. Everyone laughs at different moments. Somebody doesn’t laugh at all. But I believe that everyone is starring with their mouth wide open and is contemplating what they are actually watching. There are loads of WTF moments. Basically, crazy scenes alternate with crazy scenes, and it fascinates me that I didn’t get bored at all while watching a 79-minute story of a living tire. Is that even possible? (11.07.2017)

A film about a murderous tire. In the 1980s this would have been a fun horror B-movie, but today we have an artsy reflection on the relationship between the media and the public. I’m not sure what is stronger :) (27.02.2011)