The Rover
Starring: Guy Pearce, Robert Pattinson
Directed By: David Michod
Reviewed by Danielle Muir

[rating: 3/5]

The Rover is a hard one. It’s a polarising film to say the least. On one hand, the concept seems rich with possibility for emotional impact – on the other, it seems designed for audiences to observe the characters rather than connect with them.  The film is about The Rover’s journey, for an objective that’s hard to fathom (a simple car), in a world we don’t understand (yet). Perhaps that’s why it’s hard to connect – or why there’s an odd empty feeling coming out of the cinema. To be honest, why this film didn’t achieve greatness for this reviewer is hard to put my finger on – but nevertheless the lingering doubt is there.

Guy Pearce plays title character The Rover – a hardened man who wanders through a collapsed world. We meet him 10 years after society effectively falls (the website tells us due to prioritizing “economic gain” over our natural resources, the film does not elaborate) livid after a gang has stolen the only possession he has left – his car. Fortunately, he stumbles across Rey (Pattinson), the mentally challenged brother of one of the thieves (Scoot McNairy) wounded and left behind. Together they traverse across the baron Australian landscape to track down the one possession he seemingly has left.

The film looks amazing, and the elements add up to what should by rights be a fine piece of cinema, but there’s just something that leaves you feeling a little hollow when the credits roll. Upon reflection, there are a number of possibilities why this could be – an inability to connect with the characters perhaps, or the feeling that the dialogue is crafted to sound like it should mean something, without actually having the desired impact. Whatever it is, it makes the film intriguing to watch but after, you’ll probably struggle to remember anything that was said, or what the underlying themes were.

Guy Pearce totally and utterly embodies everything that The Rover is – in a role specifically written for him. He’s bitter, lost and unpredictably violent, and like the film itself isn’t a joy but ultimately worthwhile to watch. Kudos to Pattinson for taking a role as far away from clean-cut vampires you can get, he’s barely recognizable as Rey – a dirty halfwit with stained teeth who’s treated as the perpetual burden. One can’t help but have the thought, whilst he’s twitching and groaning away – that he may have gone a little too ‘full retard’ and that he’s really conscious on looking the part rather than letting himself be naturally overwhelmed by his character, but a brave performance nonetheless.

The cinematography is stunning and the pace is never dull, but again there’s a sense of emptiness that ensues when the film finishes – this reviewer can only speculate that it’s from the detachment you feel to any of the characters, something that doesn’t let up until the last sentimental frame.