Here’s another great batch of review excerpts. We’ll keep posting more because who doesn’t love to read some praise? We also love the new still above. Who doesn’t want to be at that dinner table?? The bromance is real.
Where the film excels, however, is what it does with its characters. It knows what to say, when to say it and has one of the best lines of the year as Rey says, “It doesn’t always have to be about something.” No, it doesn’t, and sometimes The Rover isn’t about anything more than Eric and Rey in the same place at the same time, but for as much as it doesn’t always have to be about something, this film is about so many somethings you’ll be challenging yourself with its meaning for days after seeing it.
If you’re a fan of cinema, you have to see this movie. Sit with it, don’t rush it, let it slowly wrap you up and tear you apart before blowing you away in the end.
Set in an economically impoverished future, “The Rover” stars Guy Pearce in a performance of pure controlled ferocity. He plays a man on an implacable, obsessive stop-at-nothing quest to recover his stolen car, with an unrecognizable Robert Pattinson equally strong as a weaker man who gets pulled along in his wake. Tense and remorseless and shot in 100-degrees-plus heat, this is a film that chills the blood as well as the soul.
Rey comments that stories don’t always need to mean something; sometimes you tell them because they’re stuck in your head. The Rover is sticking in mine.
There is not much happiness to this unrelenting story but there is a very satisfying ending that makes you understand why the man was so relentless in finding his car. The finale is the one melancholy moment in an austere, violent story. I give it a B+.
Michôd whips out perhaps the most quietly ballsy ending of the year, one that wraps up the stray threads and cauterizes them with perfect audacity—half Cormac McCarthy, half grindhouse. It’s likely to make or break the film for you. Either way, you’ll be thinking about it for a long time to come.
The robustly twitchy Pattinson and Pearce make combustible alliance in search of Rey’s brother. At moments, under burnished yet offhanded light, “The Rover” is literary machismo of a high order. And at others? We’re watching Michelangelo Antonioni’s “Mad Max.” (This is not a bad thing.) Michôd and cinematographer Natasha Braier (“Chinese Puzzle,” “The Milk of Sorrow”) emphasize masculine determination and ineffectuality by fixing repeatedly on the roll of men’s shoulders, face turned to the horizon, spiritual burden expressed in a hitch of step and pitch of the male frame.
Like the best dystopian sci-fi, it urges us to keep a more watchful eye on what’s happening throughout the globe right now.
it’s worth the trouble to witness the top quality filmmaking of “The Rover”.
His film is as bleak and unsparing as the world’s end premise demands. It’s also utterly transfixing from start to finish and elevated by the unexpectedly superb pairing of stars Guy Pearce and Robert Pattinson…It’s a truly gnarly movie, simultaneously pulling you in and pushing you away, but you can’t take your eyes off it.
The Rover is a slow narrative, but each shot is carefully planned to keep us hungry. Michôd hangs on to scenes long enough that the audience is begging for a break in tension. When that break does come, it slices through with an explosive gunshot to someone’s face. His bravura is an intimidating reminder that he’s ahead of the audience every step of the way. Gorgeously shot by Natasha Braier (XXY), the grotty landscapes of the rugged Outback haunt with its emptiness, and sizzle from the sun beaming down. Sweat and flies have become a common part of one’s wardrobe here; Michôd is certainly a big fan of Ted Kotcheff’s harrowing masterpiece, Wake in Fright. Mixed with the punch-drunk score by Antony Partos (who worked with Michôd previously on Animal Kingdom), The Rover becomes a frightening look at desperate men who become a malevolent force of nature.
The Rover is gripping and beautifully crafted, with some themes and an ending that are perfectly designed to give you something to think about afterwards.
You don’t have to like these characters to identify with them or learn from them.
Rey’s stare is almost thousand-yard enough to make the film’s sense of tragedy feel downright Greek.
Director David Michod’s The Rover is a desolate, dark and thought-provoking film that explores the aftermath of societal collapse in the Australian outback.
As impressive as these flourishes are, what makes “The Rover” more watchable than the average self-conscious genre exercise is Pearce, who exudes such weary authority and palpable vulnerability that he’s sympathetic even in the film’s most brutalizing moments.
“The Rover” is a nasty little movie with a mean streak. This is not entirely a bad thing…It’s not exactly an uplifting film. But stick with it, admire the performances and “The Rover” is worth your while in the end.
A few great video reviews. The love is strong for The Rover.
Click HERE for a video review, both Australian critics giving The Rover 4 stars:
DAVID: Margaret, what did you think of THE ROVER?
MARGARET: I think it is spare-genre filmmaking. It is really, really well done. I think Robert Pattinson, that role could have gone so easily awry and I think he handles it fabulously. Guy Pearce is just wonderfully solid as Eric. I think one of the great things about this film is the soundscape on it with music by Antony Partos and Sam Petty contributing, as well, to the sound design.
DAVID: Yes, it’s very, very good. Yes.