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Mud, Jeff Nichols follow up to the criminally under-seen Take Shelter, is a strange mix between a coming of age story and and escaped con thriller. Set in a Arkansas town that's about as redneck-y as redneck gets, Mud focuses on a couple of boys in their early teens, Ellis (Tye Sheridan) and Neckbone (Jacob Lofland). The duo comes across a boat lodged in a tree thats occupied by a bum named Mud (Matthew McConaughey). Mud seems amiable to the boys, trading food for a guarantee that the boat will be theirs once he goes on his merry way to reacquaint himself with the love of his life, Juniper (Reese Witherspoon). However, once it becomes clear that Mud is being hunted by the police and a pack of bounty hunters due to a past crime, the boys strike a deal with their homeless friend: they'll get the tree-stranded boat up and running in exchange for the pistol Mud used to commit the crime he is being pursued for.

First and foremost, lets make something explicitly clear: Mud is just about as cheesy as you get. The movie never misses a chance to take emotional cheap shots at the audience, and many of the plot lines (one regarding marital troubles between Ellis's folks in particular) feel ripped straight out of Lifetime movies. However, for each overwrought groaner that misses the mark, there is a genuine moment of tenderness between characters that hits the emotional bullseye.

There are plenty of moments when Nichols should have pulled back, should have avoided the schmaltz, but they don't ruin the scenes that get the relationships between characters right on. Especially effective are the scenes between Ellis and Mud, with Ellis's admiration of gruff and mysterious Mud never being overdone. The same cannot be said for the relationship between Ellis and his feuding parents, which more often then not amps the drama up to 11 when what it needed more than anything was restraint.

Mud also overstays its welcome due to an excessively leisurely pace that includes one too many subplots. Mud has plenty of fat to be cut, from the standard teen infatuation story of a young boy dropping the "L" word after a single date to a subplot revolving around a scuba diver (played by the always awesome but tragically unnecessary Micheal Shannon) which only pays off in the oddest and least fulfilling way. Had 20ish minutes been cut, I can't help but feel it would have made for a more effective final act, but as it stands the numerous bland asides from the main story drag the film down, especially in the final act.

Despite these flaws, Mud succeeds where it really counts. The relationship between the two boys, and their interactions with Mud, are a pleasure to watch. This is largely due to the easygoing chemistry between the actors, making the strange idea of a 14 year old befriending a middle aged hobo somewhat more believable. The acting in general is great all around, McConaughey stealing the show with his detached Mud. The only week link is Witherspoon as Mud's fickle love, who seems to be sleepwalking through scenes that needed a more emotional push.

As a final note, the last half hour or so of the movie goes a little crazy. Following the lamest forced-emotion scene in the film (something that was telegraphed excessively earlier in the film), the film completely switches genres for its climactic scene. Without going into detail, the ending was more than a little jarring and felt out of place in a slow drama.

Saying that Wrong, the new film by French director and lover of all things non-sequitur Quentin Dupieux, is strange does the film somewhat of an injustice. Not because the movie surpasses the limits of strange (although, to be fair, it does), but because strange implies something nonsensical, content that defies explanation or logic. Wrong is a film that, despite being so bizarre, manages to come around full circle and make sense at the end. All its surreal imagery has purpose at the end, and the film is at its strongest at the last moments where one can step back and appreciate it as a whole.

Wrong begins with Dolph Springer, a man who inhabits a slightly off- kilter universe in which trees "make sense" based on their own unique place and offices shower their seemingly unaware employees with torrential rain. He is a simple man: he goes to work every day and enjoys the company of his gardener Victor, a man who seems to be forcing an unneeded French accent. Dolph wakes up one morning to find his dog has gone missing, and embarks on a journey to rescue his pooch from whatever peril it seems to have run across. To summarize the movie any more would be a disservice, as the best part of the film is the pleasant little surprises that come along the way.

What I can tell you is that the film is absolutely absurd. From William Fichtner's restrained but subtly outrageous performance as this world's version of a zen master to a strange sequence that refuses to define itself as reality or dream, there is enough outlandish content to fill any surrealists imagination. Although these elements are certainly bizarre, it still feels like they deliver a message. They contribute to a feeling that there is something deeper being said, and by the end one walks out with a feeling that Dupieux subtly and ever so brilliantly schooled the audience.

That being said, the movie has problems. For large chunks of the film, especially during a tour of a small animals digestive tract (don't ask), it feels like the director is treading water. In fact, I would go as far as to say that a good quarter of the movie loses its surreal edge, and becomes more than a little monotonous. These scenes clog the movie, and get more than a little frustrating as it holds back an otherwise breezy and enjoyably silly movie.

It's a shame I can't go deeper into the movie, to explain the emotions that built inside me by the end or the flaws that made the movie shy of greatness. It's a movie that works better the less you know about it, plain and simple.