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The Rover

Drama . Crime

A decade after the collapse of the western world, Australia has become a lawless wasteland. As desperate outsiders pillage the country's precious mineral resources, taciturn Eric travels from town to town searching for signs of life.

Actors: Tek Kong Lim , Chan Kien , Tawanda Manyimo , Gillian Jones , Susan Prior , Anthony Hayes , Nash Edgerton , Scoot McNairy , Guy Pearce , Robert Pattinson
Directors: David Michôd
Release: 2014-06-20
More Info:
  • Kenneth Turan

    There is nothing noble about Eric's mission or about the considerable violence he resorts to to get the job done, but Pearce's willingness to give him an integrity of purpose mixes well with Michôd's intense, controlled direction and his ability to blend unexpected, empathetic character moments with all the killing.

    Los Angeles Times Full Review
  • Amy Nicholson

    The Rover might not be about anything at all, but the dust it stirs up sticks to you after you leave the theater.

    Village Voice Full Review
  • Joe Williams

    The Rover is a sterling example of the new Australian noir.

    St. Louis Post-Dispatch Full Review
  • Jessica Kiang

    Bleak, brutal and unrelentingly nihilist, and with only sporadic flashes of the blackest, most mordant humor to lighten the load, it feels parched, like the story has simply boiled away in the desert heat and all that’s left are its desiccated bones. In a good way.

    The Playlist Full Review
  • Diane Garrett

    The Rover is less an allegory than a suggestion how bad things could become. It's well made, and it's disturbing, if not overly passion inducing.

    TheWrap Full Review
  • Joe Morgenstern

    The Rover, is anything but lively, though it's long on menace, often violent and consistently fascinating.

    Wall Street Journal Full Review
  • Scott Foundas

    Michod’s sophomore feature isn’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 that reveals untold depths of sensitivity and feeling in the erstwhile “Twilight” star.

    Variety Full Review
  • John Bleasdale

    For most post-apocalyptic films, the nightmare is really a disguised fantasy. In Michôd's excellent The Rover, the nightmare is real.

    CineVue Full Review
  • Lawrence Toppman

    Guy Pearce isn’t as physically formidable as Clint Eastwood or Charles Bronson in Leone’s classics, but he’s just as determined and dangerous.

    Charlotte Observer Full Review
  • Brian Tallerico

    A bleak, brutal film; at times, its monotony can be draining. Full Review
  • Steve Macfarlane

    Robert Pattinson's stare is almost thousand-yard enough to make the film's sense of tragedy feel downright Greek.

    Slant Magazine Full Review
  • Peter Travers

    All you really need to know is that The Rover is a modern Western that explodes the terms good and evil; that its desolation is brilliantly rendered by Michôd and cinematographer Natasha Braier; that Pearce and Pattinson are a blazing pair of opposites.

    Rolling Stone Full Review
  • A.A. Dowd

    At heart, The Rover is something of a buddy road movie, albeit one almost completely devoid of humor.

    The A.V. Club Full Review
  • Roger Moore

    As violent and primal as “Animal Kingdom,” but not as brisk. The film grinds to a halt in between confrontations. And those shoot-outs are simple, direct and bloody, not “staged” in the Hollywood sense.

    McClatchy-Tribune News Service Full Review
  • Bill Goodykoontz

    His first film, "Animal Kingdom," was a terrific examination of a low-grade crime family in Melbourne. The Rover is more ambitious but not as good. Michod's patience with scenes, while laudable, is at times too much.

    Arizona Republic Full Review
  • David Edelstein

    It’s overbaked art-pulp. You’re always thinking, What fresh horror is around the next bend?

    New York Magazine (Vulture) Full Review
  • Dan Kois

    It’s a welcome sight, seeing him carry a movie again. He’s austere and fascinating in The Rover, and his seriousness of purpose undercuts any possible campiness in the film’s world-gone-wrong setting: Each scene may be more dire than the last, but we care about Pearce, so we care about the movie.

    Slate Full Review
  • Todd McCarthy

    Always commanding attention at the film’s center is Pearce, who, under a taciturn demeanor, gives Eric 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.

    The Hollywood Reporter Full Review
  • Marjorie Baumgarten

    Despite not breaking any new cinematic ground. The Rover plays like a taut spellbinder.

    Austin Chronicle Full Review
  • Ann Hornaday

    What makes The Rover more watchable than the average self-conscious genre exercise is Pearce, who exudes such weary authority and palpable vulnerability that he’s sympathetic even in the film’s most brutalizing moments.

    Washington Post Full Review
  • Adam Smith

    This would have been a striking calling card, and it’s still an impressively solid piece of genre filmmaking with great cinematography and score. But there’s not much here of the ambition of Animal Kingdom, leaving Michôd in ‘difficult third movie’ territory. Let’s hope he gets a move on this time.

    Empire Full Review
  • A.O. Scott

    There is both too much story and not enough. The contours of this desolate future are lightly sketched rather than fully explained, which is always a good choice. But that minimalism serves as an excuse for an irritating lack of narrative clarity, so that much of what happens seems arbitrary rather than haunting.

    The New York Times Full Review
  • Joshua Rothkopf

    The Rover is almost worth it for the coiled central performance of Guy Pearce, who outfuries Mel Gibson with his pinpoint shotgun skills and monomaniacal quest.

    Time Out New York Full Review
  • Peter Bradshaw

    Michôd creates a good deal of ambient menace in The Rover; Pearce has a simmering presence. But I felt there was a bit of muddle, and the clean lines of conflict and tension had been blurred: the dystopian future setting doesn't add much and hasn't been very rigorously imagined.

    The Guardian Full Review
  • Steve Persall

    The Rover fascinates and frustrates in equal measure, with Michod withholding details of plot and character so thoroughly that a nihilistic fog sets in.

    Tampa Bay Times Full Review
  • Eric Kohn

    Like its tattered setting, The Rover is scattered with intriguing ideas never successfully fleshed out.

    indieWIRE Full Review
  • Drew McWeeny

    While there are some very strong performances in the film, the movie is inert, dramatically speaking, and covers such familiar ground that I can't really recommend it.

    HitFix Full Review
  • Mary Houlihan

    The Rover does have a central nervous system that crackles and pops with suspense, but in the end it’s not enough to jump-start the lack of narrative. Too much story is missing, and that is simply distracting.

    Chicago Sun-Times Full Review
  • Ty Burr

    There’s a thin line between the iconic and the generic, and The Rover, a grim post-apocalyptic drama from down under, wanders back and forth across it in an adrenaline daze.

    Boston Globe Full Review
  • Mick LaSalle

    Best of all is the work of Gillian Jones, who shows up in one scene as "Grandma."

    San Francisco Chronicle Full Review
  • Rene Rodriguez

    After an exciting high-speed car chase reminiscent of the Mad Max pictures, The Rover settles into a two-character drama between Eric and Rey, but Pearce is so one-note that their relationship is never engaging.

    Miami Herald Full Review
  • Rex Reed

    A bleak and pointless exercise in pretentious existentialism.

    New York Observer Full Review
  • Kyle Smith

    Lawless outback, shotgun-toting banditos and even roadside crucifixions somehow add up to an experience that’s about as thrilling as your average trip to the post office.

    New York Post Full Review
  • Jordan Hoffman

    A dark, dreary and dull “Mad Max in Neutral” from director David Michôd (“Animal Kingdom”) that tries to pass off its blunt narrative and repetitiveness as some sort of style. Full Review
  • Chris Nashawaty

    A major disappointment. Bleak, brutal, and ultimately pointless.

    Entertainment Weekly Full Review
  • Staff (Not credited)

    On the bright side, Robert Pattinson’s pretty good in The Rover. Unfortunately, the movie isn’t.

    New York Daily News Full Review
  • Tim Robey

    Michôd’s film consciously plays like an outback western, peppered with jagged and unpredictable outbursts of hard brutality. But it could do with losing control a little more often – and with establishing the dangers of its dog-eat-dog world more precisely.

    The Telegraph Full Review
  • Keith Phipps

    While Michôd never satisfactorily develops the central relationship, The Rover is still a showcase for two strong performances.

    The Dissolve Full Review
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