Click to Skip Ad
Closing in...
Steve Carell Redefined His Career By Surprising Everyone in 'Foxcatcher' Steve Carell Redefined His Career By Surprising Everyone in 'Foxcatcher' Watch: Ellar Coltrane on the 'Brutal' Experience of Watching 'Boyhood' After Living It Watch: Ellar Coltrane on the 'Brutal' Experience of Watching 'Boyhood' After Living It Mortem Tyldum Explains Why Alan Turing Was the Right Subject For His First English-Language Film Mortem Tyldum Explains Why Alan Turing Was the Right Subject For His First English-Language Film Why Richard Linklater’s ‘Boyhood’ is a Great, Unexpected Awards Season Frontrunner Why Richard Linklater’s ‘Boyhood’ is a Great, Unexpected Awards Season Frontrunner Watch: Patricia Arquette on Stripping Away Ego to Get to the Heart of 'Boyhood' 
Watch: Patricia Arquette on Stripping Away Ego to Get to the Heart of 'Boyhood' 'Whiplash' Breakout Miles Teller Has Officially Arrived 'Whiplash' Breakout Miles Teller Has Officially Arrived Michael Keaton Dug Deep to Deliver the Best Performance of His Career in 'Birdman' Michael Keaton Dug Deep to Deliver the Best Performance of His Career in 'Birdman' Mark Ruffalo Explains Why Dave Schultz Was One of the Most Complex Characters He's Ever Played Mark Ruffalo Explains Why Dave Schultz Was One of the Most Complex Characters He's Ever Played Keira Knightley on 'The Imitation Game' and Why Awards Matter Keira Knightley on 'The Imitation Game' and Why Awards Matter Katherine Waterston On the Good and Bad of Working With Paul Thomas Anderson Katherine Waterston On the Good and Bad of Working With Paul Thomas Anderson Emma Stone Proved She Can Do It All in 2014 Emma Stone Proved She Can Do It All in 2014 Jon Stewart is Off to a Strong Start with Directorial Debut 'Rosewater' Jon Stewart is Off to a Strong Start with Directorial Debut 'Rosewater' Awards Spotlight: Don't Be Surprised When J.K. Simmons Takes Home Oscar Awards Spotlight: Don't Be Surprised When J.K. Simmons Takes Home Oscar Jessica Chastain Proved She's a Total Chameleon in 2014 Jessica Chastain Proved She's a Total Chameleon in 2014 Laura Poitras on 'CITIZENFOUR,' The Most Dangerous Work She's Ever Done Laura Poitras on 'CITIZENFOUR,' The Most Dangerous Work She's Ever Done Jake Gyllenhaal On Doing Very Bad Things in 'Nightcrawler' Jake Gyllenhaal On Doing Very Bad Things in 'Nightcrawler' Channing Tatum Explains Why It Took Him Eight Years to Have the ‘Balls’ for ‘Foxcatcher’ Channing Tatum Explains Why It Took Him Eight Years to Have the ‘Balls’ for ‘Foxcatcher’ Ethan Hawke Didn't Know That Richard Linklater Would Bring 'Boyhood' Home So Well Ethan Hawke Didn't Know That Richard Linklater Would Bring 'Boyhood' Home So Well Jack O'Connell Explains What It’s Like to Work For Angelina Jolie Jack O'Connell Explains What It’s Like to Work For Angelina Jolie 'Red Army' Director Gabe Polsky Reveals the Story of Soviet Hockey 'Red Army' Director Gabe Polsky Reveals the Story of Soviet Hockey How Felicity Jones is Getting Noticed This Awards Season How Felicity Jones is Getting Noticed This Awards Season Edward Norton Goes Full-Blown For Alejandro González Iñárritu in 'Birdman' Edward Norton Goes Full-Blown For Alejandro González Iñárritu in 'Birdman' How Eddie Redmayne Transformed His Body and Mind to Become Stephen Hawking How Eddie Redmayne Transformed His Body and Mind to Become Stephen Hawking Oscar Isaac Explains How 'A Most Violent Year' Fits With His Other Roles Oscar Isaac Explains How 'A Most Violent Year' Fits With His Other Roles Timothy Spall Almost Went Mad to Play 'Mr. Turner' For Mike Leigh Timothy Spall Almost Went Mad to Play 'Mr. Turner' For Mike Leigh 'Gone Girl' Composer Atticus Ross: How to Write a Score Without Seeing the Film 'Gone Girl' Composer Atticus Ross: How to Write a Score Without Seeing the Film How to Play James Brown, By Chadwick Boseman: Study the Man, Listen to Drake How to Play James Brown, By Chadwick Boseman: Study the Man, Listen to Drake Chris Rock on Why Making 'Top Five' Was a No-Brainer Chris Rock on Why Making 'Top Five' Was a No-Brainer Steve James and Chaz Ebert Tackled 'Life Itself' Steve James and Chaz Ebert Tackled 'Life Itself' Bennett Miller Explains Why He Had to Make 'Foxcatcher' Bennett Miller Explains Why He Had to Make 'Foxcatcher' How Do You Roll Six Movies Into One? 'Wild Tales' Director Damian Szifron Explains How Do You Roll Six Movies Into One? 'Wild Tales' Director Damian Szifron Explains How Rosario Dawson Stole the Show From Chris Rock in 'Top Five' How Rosario Dawson Stole the Show From Chris Rock in 'Top Five' Alan Hicks: From Drummer-Surfer to Oscar-Shortlist Filmmaker Alan Hicks: From Drummer-Surfer to Oscar-Shortlist Filmmaker Alejandro González Iñárritu: 'Birdman' Could Have Been 'so wrong' Alejandro González Iñárritu: 'Birdman' Could Have Been 'so wrong' Amir Bar-Lev Likes to Make People a Little Uncomfortable Amir Bar-Lev Likes to Make People a Little Uncomfortable

Review: Robert Pattinson and Guy Pearce Can't Quite Salvage David Michod's 'The Rover'

Photo of Eric Kohn By Eric Kohn | Indiewire June 11, 2014 at 11:02AM

David Michod's follow-up to "Animal Kingdom" stars Robert Pattinson and Guy Pearce in a very familiar kind of post-apocalyptic survival story.
13
Guy Pearce and Robert Pattinson in "The Rover."
Guy Pearce and Robert Pattinson in "The Rover."

The dirty, broken world at the center of David Michod's "The Rover," the Australian director's post-apocalyptic follow-up to his grisly 2010 crime drama "Animal Kingdom," is a familiar one. The dusty landscape and cruel, humorless personalities populating its small ensemble immediately call to mind "Mad Max," while the prevalent despair suggests pages borrowed from Cormac McCarthy's "The Road." Unfortunately, despite Michod's capability  to emulate these dreary worlds -- and formidable performances from "Animal Kingdom" star Guy Pearce and Robert Pattinson in his first substantial effort post-"Twilight" -- the movie barely amounts to more than a homage.

An opening title card sets the action "10 years after the collapse," but nothing in "The Rover" is explicitly science fiction. Instead, Michod constructs a violent road trip thriller in which bearded loner Eric (Pearce) launches a mission to track down the bandits who stole his car. In the process, he joins forces with one of the culprits' wounded brother Rey (Pattinson), whom they left for dead before the story's opening. An introductory segment in which the trio of villains, led by Rey's brother Henry (Scoot McNairy, in a handful of scenes) holds promise: it finds the feuding men engaged in a car accident alternately shot from inside the vehicle and flying by the window of the ramshackle building where Eric sits with his drink and the sound of the crash is drowned out by blaring music. That oddly funny moment is followed by a suspenseful chase sequence as Eric jumps into the titular vehicle and briefly manages to chase them down. 

But few of the enusing scenes capture the same elements of surprise or excitement. Instead, as tight-lipped Eric continues on his quest with the bumbling Rey forced to accompany him, "The Rover" offers plenty of compelling ingredients dryly assembled along an unimaginative trajectory.

The Rover

Nevertheless, Pearce's scowling expression and relentless ability to force others to meet his demands—particularly in a sudden burst of violence when he seeks out a firearm—marks his strongest effort since "Animal Kingdom," while Pattinson finally moves beyond wooden mannerisms to give his awkward character a pathetic, creepy demeanor. Leaving both the origin stories for both men largely up for interpretation, however, Michod (who co-wrote the story with regular collaborator Joel Edgerton) fails to make their plight engaging. Like its tattered setting, "The Rover" is scattered with intriguing ideas never successfully fleshed out: From a woman at one outpost who keeps her dogs in cages to save them from scavengers to a motel shootout that manifests out of nowhere, Michod effectively creates the anticipation of peril lurking in every corner. It's easy enough to get swept in the intensity of these moments.However, the movie's harsh posturing never leads anywhere. 

Unlike John Hilcoat's 2005 Australian western "The Proposition," the outback doesn't hold enough appeal on its own terms to justify the absence of story. Cinematographer Natasha Braier's yellow-brown imagery engenders a gravitas far deeper than any of the movie's slim developments. Instead, Michod relies on a series of basic vignettes. On more than one occasion, Eric and Rey engage in rambling fireside chats in between their adventures on the road. At one point, Michod's camera slowly pushes in Pattinson as he sits in their parked vehicle, singing falsetto to Keri Hilson's "Pretty Girl Rock" on the radio. It's a random tangent that doesn't deepen the proceedings or complicate the narrative in any particular way; like much of the "The Rover," it's a fragment incapable of latching onto a bigger picture.

Michod's commitment to unsympathetic storytelling and hardened characters allowed "Animal Kingdom" to maintain palpable dread at every moment. In "The Rover," the empty tension dissipates with time. Like the earlier movie, it culminates in an abrupt exchange of gunfire, but the meager payoff after such a bland, prolonged buildup feels like a cheat. One of the characters sighs that "not everything has to be about something," but "The Rover" never manages to manages to fully justify that excuse. 

Grade: C+

"The Rover" premiered last month at the Cannes Film Festival. It opens in New York and Los Angeles this Friday ahead of a national expansion on June 20.


This article is related to: Reviews, The Rover, Robert Pattinson, David Michôd, Guy Pearce






Check out Indiewire on LockerDome on LockerDome



Awards Season Spotlight

Contender Conversations

Indiewire celebrates the best and brightest from Independent film, Hollywood, and foreign cinema.

More