Possibly set in the same fictional universe as The Road - with Guy Pierce as the fil rouge between the two films. Don't be fooled: the post-apocalytpic theme ("Ten Years After The Collapse") is a mere decoy. The Rover is a neo-western imbued with road movie motifs. Above all, it is a pleasant surprise.
Wrong in so many ways. Long silences when you expect action, overbearing music, characters that jump in and then out of the story (above all that brilliant woman who is totally unfazed by Pearce pointing his gun at her), unsympathetic characters (not least Pearce, who never really tries to win us over). It doesn't promise answers, and it doesn't deliver them; I wouldn't have it any other way. A wonderful film.
The grimness the battered landscapes and Guy Pearce's flaming eyes communicate comes as no surprise -- but the candid moments of affecting, offbeat humor do. "The Rover" is ultimately a very human film, and not exactly the distant, cold examination of violence I expected it to be. It actually earns its darkness, through intimacy and compassion for its characters.
As expected, Michôd delivers a searing portrait of our world in a bleak and possible future. We follow men without purpose; one guns down stranger after stranger on a blood-soaked path of vengeance, while is in tow. The pace is slow and meditative, the performances were brooding and restrained, the cinematography is scorched, and the soundtrack is haunting. An unforgiving mood piece about life after the end of life.
This is insufficient nihilistic cinema that falls short on ideas and script development. It becomes impossible to ignore the astonishing amount of incongruities throughout the narrative. Robert Pattinson, however, proves yet again how good of a performer he can be.
Minimalist, brooding, grime laden and filled with unflinching violence. The Rover follows a man broken by a world long devoid of loyalty on a mission to get back the only thing that has any value to him. Pierce is perfect as the hardened soul who's retreated deep within. Death comes quick and easy as he's pushed further and further, each act of violence a chisel urging reconciliation with the self. 4 stars
Well, I'm glad I googled "Sad Max" before using it to begin my blurb about The Rover, because it's already badly played-out by now, but I'm a little pissed with myself for posting this before thinking of anything else to say. Oh yeah: Tortoise's "Djed" -- beautifully deployed! Hard to believe it took almost twenty years.
When I first saw it, I originally thought the ending scene that tells Pierce's reasoning beyond a MacGuffin rendered the film without an artistic focus, seeming overtly sentimental. However, I admit that I missed the point. Quite simply: humanity in the world has reached a nadir when Pierce's reasoning is revealed. Human life is nothing more than what is in the trunk. And all this killing is indeed pointless.