The Rover
Set in the Australian desert in a dangerous near future, director David Michôd's follow-up to Animal Kingdom starring Guy Pearce. Eric (Pearce), the victim of a gang of robbers who've stolen all his possessions, sets off to track them down with the help of Reynolds (Robert Pattinson), an injured member of the gang who they've left behind. Co-written by Animal Kingdom actor Joel Edgerton.
- Director:
- David Michôd ('Animal Kingdom')
- Writer:
- Joel EdgertonDavid Michôd
- Cast:
- Robert PattinsonGuy PearceSamuel F. LeeScoot McNairyAnthony Hayes
Reviews & comments
Variety
pressIsn’t exactly something we’ve never seen before, but it has a desolate beauty all its own, and a career-redefining performance by Robert Pattinson.
Total Film
pressPattinson is suggesting his career post-Twilight will sparkle like Edward Cullen's skin. Michod, meanwhile, confirms he's a filmmaker of considerable talents.
Time Out
pressThere's a purity to the utter lack of rationale here; this, combined with Michôd's way with a landscape, makes for a passable guy-picture masquerading as something deep.
The Guardian
pressMichôd creates a good deal of ambient menace in The Rover; Pearce has a simmering presence. But I felt there was a bit of muddle...
Sydney Morning Herald
pressDark and engaging, with superb use of the heart-stopping landscape around the Flinders Ranges, but it could be accused of mannerism.
SBS
pressThe desolate parable of brooding outback justice plays out as though Cormac McCarthy has reimagined Mad Max 2 for the 21st century, with late-model cars and breathable-fibre costumes.
Hollywood Reporter
pressPearce... gives all the cold-hearted remorselessness of a classic Western or film noir anti-hero who refuses to die before exacting vengeance for an unpardonable crime.
Herald Sun
pressWhere Animal Kingdom kept dragging us towards its dark, dead centre - often against our will - The Rover just warns us to keep our distance and leaves it at that.
A TWISTED DELIGHT
David Michod’s follow up to 'Animal Kingdom' is no less brutal and no less riveting. In an apocalyptic future reminiscent of 'The Road', Eric (Guy Pearce), seeks to retrieve his stolen car, capturing one of the car-thieves’ brothers, Rey (Robert Pattinson), along the way. It’s a basic plot, held together by a masterclass in direction, Natasha Braier’s...
Variety
pressIsn’t exactly something we’ve never seen before, but it has a desolate beauty all its own, and a career-redefining performance by Robert Pattinson.
Total Film
pressPattinson is suggesting his career post-Twilight will sparkle like Edward Cullen's skin. Michod, meanwhile, confirms he's a filmmaker of considerable talents.
Time Out
pressThere's a purity to the utter lack of rationale here; this, combined with Michôd's way with a landscape, makes for a passable guy-picture masquerading as something deep.
The Guardian
pressMichôd creates a good deal of ambient menace in The Rover; Pearce has a simmering presence. But I felt there was a bit of muddle...
Sydney Morning Herald
pressDark and engaging, with superb use of the heart-stopping landscape around the Flinders Ranges, but it could be accused of mannerism.
SBS
pressThe desolate parable of brooding outback justice plays out as though Cormac McCarthy has reimagined Mad Max 2 for the 21st century, with late-model cars and breathable-fibre costumes.
Hollywood Reporter
pressPearce... gives all the cold-hearted remorselessness of a classic Western or film noir anti-hero who refuses to die before exacting vengeance for an unpardonable crime.
Herald Sun
pressWhere Animal Kingdom kept dragging us towards its dark, dead centre - often against our will - The Rover just warns us to keep our distance and leaves it at that.
A TWISTED DELIGHT
David Michod’s follow up to 'Animal Kingdom' is no less brutal and no less riveting. In an apocalyptic future reminiscent of 'The Road', Eric (Guy Pearce), seeks to retrieve his stolen car, capturing one of the car-thieves’ brothers, Rey (Robert Pattinson), along the way. It’s a basic plot, held together by a masterclass in direction, Natasha Braier’s...
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