When Dolph walks into his office, it’s raining. Inside the office, that is. Outside, the sky is clear and sunny, but inside there’s a steady downpour splashing on the desks—soaking the computers, paperwork and personnel. No one, Dolph included, acts as if this is unusual. It is simply another day in the office.
This wet setting is one of the most inspired moments in Quentin Dupieux’s Wrong, which pits a mundane life against the unstoppable force of droll surrealism. The film continually finds new ways to inspire delight and aggravation, although the ratio between those two feelings will vary greatly depending on the viewer’s love or tolerance of the weird. Those willing to accept the movie on its terms will find a flawed but individual work of madcap fun.
The comedy generates more grins than laughs as writer/director Dupieux invents new ways to torment his hero. Dolph (Jack Plotnick) wakes up to find his dog, Paul, missing. He tries to take his mind off things by calling a pizza restaurant to complain about the logistical problems of its logo, which features a rabbit on a motorcycle, but that phone call only sets off another in a series of chain reactions that form a huge cosmic joke on Dolph.
The crux of Dolph’s character is his inability to accept change. He even continues to go to his rainy office three months after being fired. Wrong explores the need for normalcy by confronting Dolph with stressful changes. His dog’s disappearance is just the beginning. The palm tree in his backyard has turned into a pine tree. A serious romantic relationship arrives at his doorstep due to no effort or fault of his own.
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