If somebody took my precious moped, trust me, I’d travel to the ends of the Earth, too.
Set in the Outback, ten years after what is called “the collapse”, a lonely, disheveled man (Guy Pearce) parks his car by the side of the road, only to realize that, moments later, it’s stolen by a bunch of thugs who got in a car crash and needed the next best set of wheels to roll with. The man clearly doesn’t like this, so he sets out to get his car back, but not without stumbling upon one of the younger brother’s of this gang, an autistic redneck by the name of Reynolds (Robert Pattinson). Together, the two embark on a journey of sorts in which the man can get his car back and hopefully keep Reynolds with him, almost as a use of leverage. However, their two troubled pasts and the decisions they’ve made eventually come back to bite both of them in the rear-ends during this trip, and most of the times, it usually leads to disastrous results. Especially when all hope in the world, is practically lost.
In case you couldn’t already tell, there’s something strange about this premise. Like, for instance, why on Earth is this one dude going so deep and far just to get his car back? Speaking of the Earth, how did it “collapse”? Was it a virus? Did it hit everywhere on the planet, or just Australia? Better yet, why the hell does there happen to be numerous Americans roaming the Outbacks? And what the hell is up with these soldiers?
Basically, this movie has a lot of questions and has no interest in actually answering them, so if that isn’t your cup of tea, then there’s no reason you should really see this. It will only have you be more and more incredibly pissed as it trudges along, not to mention that it’s not necessarily the greatest pick-me-up, either. So just imagine the Road, but this time, without a father-son dynamic, therefore, getting rid of any sort of hope or humanity one may be able to find in a flick as grim and as brutal as this.
But that’s why we have movies such as the Rover – not to be enjoyed, but simply, to be intrigued by. Most of the times, it’s for the worse, but sometimes, especially in the case here, it’s for the better because the movie doesn’t feel like it needs to really explain itself. Sure, it would have been totally helpful to get a bit more background info on just how Australia turned into this Mad Max-style playing field, but there’s something quite interesting in that mystery surrounding it, that it’s hard to have it ruin whatever movie-viewing experience when can have while watching this.
Which, for some, may be a bit of a change if they had already seen writer/director David Michôd’s previous flick, Animal Kingdom; which, surprisingly, was a conventional gangster tale of a family full of thugs and crooks, but was spun so many times, it hardly ever felt conventional or boring. Here though, there’s hardly any convention to be found: Basically, it’s just a road trip from one blazingly hot Australian location, to another. And while that may sound like a whole bucket of fun, it isn’t and really, it doesn’t need to be.
Because mostly, what Michôd does so well as director is that he sets a mood; it’s a very dark, brooding and ominous one, but it’s one that throws us into this post-apocalyptic world we know hardly anything about, except for that everything is screwed up beyond belief. Somehow though, Michôd is able to find these small shots of natural beauty, which is mostly to credit the landscapes in which he shot this movie, but also to credit him as having a keen eye on what pops in a movie that can be so grim at times, you’ll wonder if there’s going to be any humanity found at all.
And eventually, Michôd does find some humanity in this story, however, if there was a element that I felt like this movie needed the most help with, it was this. While Michôd clearly gets the look and feel of this movie down perfectly, there’s a certain idea about these characters that leaves plenty to be desired. Sure, we’re practically thrown into a situation, with characters we hardly know right off the bat, but the time one dedicates to driving and staying in seedy hotels, should definitely be time for us to not only get to know our characters, or understand exactly why it is that they’re in the situation they’re in. It’s understandable why Pattinson’s character is in this situation (he’s simply not all that there in the head), but as for Pearce’s character (who I’m being told is named “Eric”, although I hardly ever heard this mentioned at all), there’s never a full understanding as to why his character is setting out so passionately on this trip just to get his car back, nor do we understand why he’s doing so many barbaric things on the way as well.
Maybe that’s the point Michôd is trying to get across: In a world that is so run-down and torn to pieces, there’s hardly any room for human connection. Which, if that was his intentions to begin with, then fine job on his part. In fact, I’d say the message was totally received. However, that also means the film suffers because of that and it made me wonder just why we couldn’t at least get two or three more scenes of Reynolds and Pearce’s character talking about whatever. Even if the conversation went nowhere, at least there would have still been an effort for us, the audience, to get to know them better just by how they talk.
But sadly, we don’t really get that. Instead, we get many scenes where Reynolds and “Eric” sit in a car, or fireside and, occasionally, getting involved in countless acts of violence. It should be noted that these acts of violence are quick, shocking and ultimately, brutal, however, there’s not enough emotion to go behind them. The only time there ever is any emotion involved whatsoever, is whenever Pattinson’s Reynolds is one of those in the action. Some of that has to do with the fact that it’s easy to feel sorry for this character as is, but some of that also has to be given to Pattinson for diving straight forward into this role, without hardly ever over-doing it; which any person who has ever had to play a mentally-handicapped character will tell you, can be quite hard to stay away from.
However, that’s the surprise we get from Pattinson here who, for what it’s worth, adds enough heart to a character you don’t necessarily root for, but don’t want terrible things to happen to either. Then again though, there’s this realization that this character isn’t the most moral one out there and, for the most part, has violent tendencies. Because of this, the character’s unpredictable and Pattinson is definitely capable of keeping that act up throughout the whole majority he’s on-screen for. As for Guy Pearce, though he looks perfect as this mean and nasty son-of-a-bitch “Eric”, there’s just not enough for him to do here, except just snarl, angrily stare at people around him, and hold up a gun. Which honestly doesn’t sound like such a problem when it’s Guy Pearce doing all of these things, but when he’s out-shined by Edward Cullen, there is something of a problem.
Not a huge one, but a noticeable one.
Consensus: Heavy on its unquestionably bleak atmosphere, the Rover will definitely tests those willing to go through with it, while also disappointing others who don’t get more than just another gritty, raw Australian-thriller, with some interesting ideas.
7 / 10 = Rental!!