{"id":61086,"date":"2014-06-04T19:07:13","date_gmt":"2014-06-04T18:07:13","guid":{"rendered":"http:\/\/www.scifinow.co.uk\/?p=61086"},"modified":"2014-06-05T11:38:03","modified_gmt":"2014-06-05T10:38:03","slug":"the-rover-film-review","status":"publish","type":"post","link":"https:\/\/www.scifinow.co.uk\/reviews\/the-rover-film-review\/","title":{"rendered":"The Rover film review"},"content":{"rendered":"

\u201cWhat a thing to get worked up about in this day and age,\u201d Guy Pearce\u2019s unblinking protagonist is told as he begins his hunt for the men who took his car at the start of David Mich\u00f4d\u2019s brutal sophomore film The Rover<\/em><\/strong>. In this day and age, Eric has nothing else left.<\/p>\n

The Rover<\/em><\/strong> is set in Australia 10 years after \u201cthe collapse\u201d. We\u2019re not told what happened; all we know is that society is in tatters as law and order operate in the loosest sense of the word. Violence goes unanswered, criminals operate in plain sight and good deeds are punished.<\/p>\n

Eric is sitting in a dusty roadside bar when a car carrying three criminals, arguing about leaving Henry (the consistently excellent Scoot McNairy)’s brother Rey (Robert Pattinson) behind, spins out of control. When the crooks steal Eric\u2019s vehicle he sets out in furious pursuit and comes across the wounded Rey. The two men begin a journey across the country that will either result in Eric finding Henry, or killing Rey.<\/p>\n

This is Mich\u00f4d\u2019s follow-up to his grim crime drama debut Animal Kingdom<\/em><\/strong>, and his vision of the near future is a bleak one indeed. The harsh Australian landscape and relentless chase narrative inevitably recall Mad Max<\/em><\/strong>, but the brutal violence and harsh lyricism (not to mention Pearce\u2019s presence) have more in common with John Hillcoat and Nick Cave\u2019s inspired Australian western The Proposition<\/em><\/strong>. Civilisation is dangling by a thread, the presence of law enforcement is almost entirely symbolic, and even family can’t be relied on; everyone is alone out here.<\/p>\n

When the film opens, we\u2019re not told where Eric comes from, what he\u2019s done or why\u00a0 he\u2019s so determined to reclaim his car. He\u2019s even violently reluctant to give his name. As the film goes on, Pearce and Mich\u00f4d start to give us glimpses into the character, but all we really know is that he\u2019s capable of killing and he\u2019s not going to stop. Any attempts on our part to imbue him with heroic or villainous qualities are countered.<\/p>\n

Pattinson\u2019s Rey is much more of an open book. Described as an idiot and a half-wit, he\u2019s adopted the mannerisms of his more assured older brother without much conviction. Eric bullies him into obedience, and Rey in turn begins to treat his captor like an older brother. It\u2019s a tremendous performance from Pattinson, who avoids easy choices and cliches to make Rey a sympathetic and ultimately moving figure. Eric\u2019s looking for what’s his, and Rey is looking for family.<\/p>\n

\"therover\"<\/a>It\u2019s this relationship that provides The Rover<\/em><\/strong> with much of its power. Pearce seethes with searing, desperate energy that\u2019s beautifully matched by Pattinson\u2019s mumbling, cautious attempts at optimism. Some of the film\u2019s most affecting moments come when Mich\u00f4d\u2019s camera lingers on the characters when they\u2019re alone: Pearce staring at a room full of silent caged dogs, or Pattinson quietly singing \u201cDon\u2019t hate me \u2018cause I\u2019m beautiful,\u201d along to Keri Hilson\u2019s \u2018Pretty Girl Rock\u2019 on the car radio.<\/p>\n

The narrative is simple, the dialogue sparse and Mich\u00f4d\u2019s directorial style restrained. With everything serving to emphasise a lack of hope, it\u2019s oppressively bleak and intentionally so, steeped as it is in the work of Cormac McCarthy.<\/p>\n

Some may find its relentless grimness alienating, while the slow pace of its second half may cause others to lose patience, but this is a powerful piece of work with two stunning performances at its centre. \u201cWhatever you think is over for me was over a long time ago,\u201d Eric tells a police officer. The Rover<\/em><\/strong> is brutal and gripping, and its profound sense of loss gives it impressive emotional depth; it will stay with you long after the credits roll.
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