Rubber

As is explained at the very beginning of Rubber by a cop who inexplicably climbs out of a car trunk, this film is an homage to 'no reason', the idea that, if the writer or director so desires, anything can happen in a movie for absolutely no reason. Once this concept has been established, Rubber is virtually impossible to fault as far as plot or logic are concerned: whenever the film raises an awkward question—such as 'How can a tyre can just get up and kill by the power of telekinesis' or 'Why is an audience watching proceedings from a nearby hill-top through binoculars'—the answer will always be 'no reason'.

OK, so Rubber has an undeniably off-beat concept and will undoubtedly have chin-stroking cineastes in deep discussion about the genius of 'meta-film'—but is it any good? Well, for a while the whole surreal aspect proves rather irresistible simply because it's so damn weird—that, and the fact that the exploding heads are a blast (there's skull fragments and brain matter all over the place!) and a hot brunette takes a shower for... you guessed it...'no reason' (but when did a film ever need a reason for a shower scene!); eventually, though, the novelty factor begins to wear off, the self-aware nature of events really starts to grate, and the film gradually disappears up its own wazoo. Like the fake cop who wants to kill the tyre via any method so he can stop pretending and go home (no matter how disappointing this will be to his 'audience'), I yearned for matters to wrap up smartish in any way possible so that I could finally go to bed.