The reviews are starting to come in & there are some great comments so far – smart people.   I LOVE reading the praise for Rob, David, Guy & the film – makes me grin from ear to ear. We’ll keep updating as more come in.

Complex Pop Culture (there are some spoilery comments in this one)

Yet it works. Story-wise, “Pretty Girl Rock” powers a sublime moment of connection, with Rey clinging to whatever semblance of his pre-apocalypse life he can through the feel-good whimsy of an R&B diva’s pop single. But in a meta sense, the sight of Robert Pattinson singing along to “Pretty Girl Rock” in The Rover is humorously defensive. Pattinson recites Hilson’s hook: “Don’t hate me ‘cause I’m beautiful.” He’s asking that you, the viewer, forget about Eddie Cullen’s pretty-boy appeal and embrace the fact that Pattinson’s starring in a film prestigious enough to premiere at the Cannes Film Festival. And he’s not only starring in The Rover—he’s acting his ass off.

Written and directed by Australian filmmaker David Michôd, The Rover is Mad Max minus the shoulder pads and mohawks. Rey’s a nice, possibly intellectually disabled guy trying to survive in post-apocalyptic wasteland, a decade “after the collapse” and mere days following an off-screen shootout that left him all alone with a bullet in his side. Henry fled from the ordeal, thinking Rey’d been killed, and now the younger, weaker sibling is the awkward sidekick to Eric (Guy Pearce), a former Aussie soldier who’s determined to retrieve the car Henry and his ragtag posse stole at gunpoint. Eric is humorless, a shell of a man hardened by his desperate situation and pushed to the brink by Henry’s kleptomania. Rey, on the other hand, is a warm guy, constantly struggling to express himself through a Sling-Blade-esque speech impediment, nervous ticks, and visible insecurity.

Unlike Pattinson, who’s in total command of the role’s atypical nature.

Rolling Stone

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. Pattinson, free of the Twilight trap, shows real acting chops, especially in a moving final scene. In revealing two men trying to get in touch with the shreds of their shared humanity, Michôd offers a startling vision. You’ll be hooked.

Wall Street Journal

The time, the opening titles tell us, is “ten years after the collapse”; the setting is the lawless Australian outback. This is “Mad Max” territory, but the filmmaker isn’t concerned with spectacular special effects. The violence in his gaunt drifter, Eric (Guy Pearce), comes from within, and erupts in a moral vacuum. Bumbling hoodlums have stolen Eric’s car. Enraged by the injustice, and by the loss of an indispensable possession, Eric sets off to retrieve the car and exact vengeance on the thieves. In the course of his journey he is aided by Rey (Robert Pattinson), the brother of one of the thieves, who has been injured and left to die. (Both Mr. Pearce and Mr. Pattinson are superb in their roles.) Part of the drama involves the trackdown, but the darker dimensions of Mr. Michôd’s enigmatic film lie in the interplay between childlike—or clinically impaired—Rey, who believes that his brother still cares for him, and implacable Eric, who sees the world around him as the squalid place it has become.

Battleship Pretension

Pearce is an actor everyone knows is great though they seem to spend very little time saying so. Pattinson suffers from the opposite conundrum. He remains relatively untested in roles that require him to be a performer and not a prop, yet his fame and his alignment with an oft-reviled franchise have led many to make up their minds about him too soon. He’s marvelous here. Rey is the only character other than Eric to have more than two or so scenes and Pattinson proves the equal of his co-star. Rey’s reduced mental capacity would be gristle for a lesser talent to gnaw on but, in Pattinson’s hands, the idiosyncrasies flower from the character, not the actor.

Michôd allows us plenty of time to study Rey’s tics and Eric’s clenched mannerisms. There’s very little ellipsis to be found in The Rover. On more than one occasion, Michôd and cinematographer, Natasha Braier, follow the characters on long walks toward fixed destinations. This builds tension for what will happen when they get where they’re going but it also illustrates a point. In this world, there are no shortcuts. One must reckon with what lays before him as well as what’s behind him. No one is going to help you on your way and there’s no one to ameliorate the repercussions of what you’ve done. Superficially, that sounds like freedom. But without the law to codify and manifest guilt and punishment, each person must contend with his own responsibilities. You may never go to jail for killing someone but you also have no outlet for how you feel about having done so. None, that is, except for the dull hell of your own continuance.

Don’t fret about being too bummed out by The Rover, though. Amidst the existentialist malaise, Michôd finds room for the gut-knotting suspense of his previous film, Animal Kingdom, as well as for Pattinson to sing along to Keri Hilson’s “Pretty Girl Rock” (the lyrics of which, “Don’t hate me ‘cause I’m beautiful,” may be a direct appeal to the anti-Twilight sect). Eventually, we even get some answers, especially when it comes why Michôd felt he needed cars and not horses in his Western. Cars, it turns out, carry more people, more weight and more memories.

Gotchya Movies

The plot is very straightforward, but it’s in the performances, the little moments, and Michod’s reluctance to adhere to conventions that make The Rover a complex and fascinating film. There have been comparisons between this film and Mad Max, which isn’t out-of-left-field. Both films were shot and take place in the Australian desert, both after an economic collapse, but that’s about where the similarities end.

Pearce is an undeniably great actor, so it wasn’t expected for Robert Pattinson to be able to match him, but damned if he isn’t just as good. Pattinson’s Rey is a meek, pathetic character who by all counts is not cut out for the new way of the world. He’s slow-witted, speaks with a slight stammer, and has some very hideous teeth. His mind is piece of clay that Eric can easily mold and manipulate, putting ideas in his head and shaking his religious faith, as well as his faith in his brother. It’s a quiet role with a lot of substance, and easily Pattinson’s most realized performance to date. Say what you will about the former Twilight heartthrob, but it’s evident that by wanting to work with directors like Michod and David Cronenberg (Cosmopolis and the upcoming Maps to the Stars) that Pattinson is out to prove he’s a capable actor.

Slant Magazine:

Pearce was born for this stuff, but Pattinson—grunting slack-jawed to the point of needing subtitles, another layer of obfuscation Michod casts over the film—is sublime. The startling chasm between his characters in The Rover and Cosmopolis suggests a range that’ll be properly acknowledged only when Pattinson is older, less appreciated as a heartthrob than for his skill as a seasoned vet. Rey is pathetic and whimpering at first glimpse, but later emerges closer to a hero than Eric, who kills so many people to find his car that the inciting McGuffin barely holds. Eric convinces Rey to lead him to Henry and his accomplices, but the reunion-confrontation between the two brothers gives the film its only real sense of sorrow, a climax verifying for the first real time how Michod’s wasteland leaves its derelict inhabitants with nothing but terrible options. As a political allegory, The Rover is neither here nor there; that said, Rey’s stare is almost thousand-yard enough to make the film’s sense of tragedy feel downright Greek.

Hollywood & Fine:

I was a big fan of David Michod’s “Animal Kingdom,” a crisp, brutal little crime film that introduced American audiences to Jackie Weaver and Ben Mendelsohn. This film, set in a post-apocalyptic Australia, is reminiscent of the first “Mad Max,” but in a less energetic way. Guy Pearce plays Eric, someone with a car and a gun who is traveling the Outback, on a perpetual hunt for food and fuel. When his car is stolen while he makes a stop, he single-mindedly starts chasing the three men who took it, eventually rescuing a gunshot young man (Robert Pattinson), who turns out to have been left behind by the group that stole Eric’s car. So they team up to find that trio. That’s the whole thing, though it obviously lasts longer than this synopsis – lots longer. There’s no small talk in this film, virtually no exposition either. These characters exist in this fly-blown landscape of heat and dust with no backstory and no apparent future, other than the next person one of them shoots. Pearce is an intense presence and Pattinson, who I long ago wrote off as a poser rather than an actor, shows depth I previously was unconvinced he possessed.

Chasewale.com:

Let’s get down to the real question: How does Robert Pattinson fare? Known for sparkling in vampire movies, RPatz is a pretty face who is willing to dirty down for a role. Rey is lanky and jittery, and the constant hollowed-out expression on his face suggests the lights aren’t always on at home. In his brain is a mountain of idiocy but he’s a lot smarter than he gives himself credit for. As this misguided cretin — Pattinson shines. If you’ve ever doubted him as a real actor, you can stop here. He proves he’s the real deal — when the role calls for it, he can project any raw emotion needed. Another terrific performance is by the film’s lead, Guy Pearce. It’s nice to see him back as the anti-hero — Pearce always wears a cool calmness to him, even when playing the bad guy. Eric is riddled with remorse, but plays a cool hand every time. On-screen together, there’s magic in Eric and Rey’s offbeat friendship.

Very Aware:

All he wanted was his car. What he got was a lot more. This may sound like a trite logline to a heartwarming melodrama, but writer-director David Michôd’s THE ROVER is anything but a feel-good film. This is a sunbleached tale of lawlessness and consequences set against a dry, unforgiving dystopian landscape. Feeling Antonioni-esque, this film features razor-sharp performances by two pros at the top of their games. It’s violent, poetic and unsettling in the best of ways.

…..Finally, THE ROVER would be nowhere without the magnificent, awe-inducing performances from Pearce and Pattinson. Michôd’s neo-noir-ish, nuevo-western-like dialogue like “You should never stop thinkin’ about a life you take – that’s the price you pay for takin’ it,” would be like tumbleweeds along a desert road if not for the care and craft of his two leads. This is a master class in acting that doesn’t feel like an actor’s study. Pearce, who has an inherent likeability, continues to be one of those actors that gets better and better with each film – even in silly stuff like Spacejail LOCKOUT. He’s precise. He’s transfixing. And he’s especially good when used as Michôd’s muse. Pattinson, who’s been discounted by many critics, is mind-blowingly fantastic in this. It’s a pleasure to see him paired against Pearce and be able to watch the actors give and take from each other in the same manners their characters do.

Though the film’s final few minutes might split audiences, it will stimulate some thought-provoking discussions as well. Mood is everything here, and master craftsman Michôd proves he knows how to utilize it.

Ropes Of Silicon:

Pearce is largely quiet and reflective, never giving anyone the upper hand while Pattinson delivers the performance of his career. Slow-witted, but far from dumb, Rey is a product of his environment and doesn’t really know any better than what he’s seen around him and clearly what he’s seen is death without remorse. The fact he clearly feels remorse, at times, is just enough of a character detail to pull you in further, just as it does Eric, a man who seems he has nothing left to lose.

…Michod says a lot with The Rover without having to directly come out and say it and he’s proven he’s one of the most exciting directors working today by doing so. If you’re a fan of cinema, you have to see this movie. Sit with it, don’t rush it, let it slowly wrap you up and tear you apart before blowing you away in the end.

The Movie Sleuth:

In The Rover, David Michôd’s followup to the acclaimed 2010 crime drama Animal Kingdom, he finds that reason, that point, that why, and crafts a film that sucks you in for its 102 minute run time, throws you to the ground, kicks you out, and makes you want to experience it all over again.

…I personally thought Robert Pattinson’s performance in Cronenberg’s Cosmopolis was the performance of 2012. As he branches off into a different type of character in The Rover, he is just as good. His character feels the empathy Eric does not, supplying the audience with an emotional connection to the characters. While bumbling and seeming like he may be the one-note southern hick we expect, he is far more human than I thought possible. He is a little silly, clever at times, and completely loyal to the man who once saved his life and is willing to go anywhere for him.

…The response to this film has become, sadly, mixed. People seem to be frustrated at the simplicity of the plot, how it drifts around, and how little happens. It’s unfortunate, really, because the plot serves the many complex themes and ideas the film masterfully brings about. They are missing out on what is easily one of the best films of this year and decade.

The Detroit News:

And we know the loner, as well. His name is Eric (Guy Pearce), although no one ever calls him that. He’s driven and haunted by ghosts unknown, deadly when he needs to be, an empty-souled survivor on a mission.

But what we don’t know, and what elevates “The Rover” above “Mad Max” territory, is Rey (Robert Pattinson), the emotional wreck and ball of confusion and conflict who becomes Eric’s hostage/frenemy/twisted partner.

It’s Pattinson’s reading of Rey that brings this movie to life. It starts out as a jumble of tics and awkward stammers but coalesces into a touching study of backward logic and primal desperation. Pattinson takes big risks with this part, and they pay off.

Reviews From A Bed:

In focusing on the characters much of the weight of the script and its subject matter falls on the actors portraying them. As mentioned earlier, Pearce plays things mostly stoic with only slight hints of a soul beneath the surface for the majority of the the running time, but it is in the few intermittent moments where Eric is afforded the opportunity to open up that we see something much more intense. It is Eric who guides the events we behold, but it is Pattinson’s Rey who more or less decides how things are going to turn out. To dismiss Pattinson because of his past roles would be a true injustice to what he is able to pull off here. It is clear the former Twilight star is trying to distance himself from that franchise and he seems to be handling things well as I’ve found his choices at least interesting if not always successful. The fact alone that Pattinson’s mind leads him to a place where he is interested in making films such as this opposed to Abduction is a sign of higher intelligence, of a more acquired taste and of an ambition that yearns for more than instant gratification, but a type of legacy. Rey is not the smartest guy, he has a bit of a slow wit about him, but he isn’t dumb either. Near the beginning of their relationship Eric flat-out asks Rey, “What are you?” and it isn’t so much that he can’t gauge the type of person Rey is, but more that Rey is erratic and slightly mysterious as if he is purposefully only letting Eric in so much with a greater agenda behind the smiles and indistinct slurs he throws out. For Pattinson, this is the type of role he likely craves; playing someone so far removed from his public image as he is able to play up characteristics that will define the person for the audience without other aspects seeping into our opinion, namely vanity. Like the world around them, these two men have been slowly breaking apart for some time now. Pearce is a pro and handles his nothing left to lose mentality with a certain calm as his persona would suggest, but Pattinson highlights the film and continues to pull us in with his unpredictable performance (it truly is unpredictable, anyone up for some Keri Hilson karaoke?) that lead to a few of the most tense moments I’ve experienced in a movie theater all year. The Rover is like a tone poem with its pounding and ever-present score, describing the sparse, desolate environment and the desperation man will take to survive leaving you with a feeling you can’t shake.

Screen Invasion:

Most dystopian-future movies show the destruction and cause of the eventual collapse that lead to the end of civilization as we know it. The Rover takes a different approach. While the smaller story within a larger apocalypse might alienate some viewers, I found the film’s focus on Eric (Guy Pearce) and Rey’s (Robert Pattinson) journey across a desolate Australia on a single mission thoroughly mesmerizing.

…The journey is pretty straight forward and they traverse much of a desolate and abandoned Australia. David Michôd takes full advantage of his filming locations, highlighting just how stark the landscape is and how alone everyone is in this post-apocalyptic world. While Michôd’s sure-hand is apparent in the wideshots, it’s the talent of the leading men that elevate this film.

Guy Pearce has never been so magnetic while saying so little. While Eric is a man of few words, his stillness is captivating. He’s menacing and mesmerizing at every turn. That’s not to say that he completely steals the show though. Robert Pattinson, most famous for playing a sparkling vampire, surprises as the dimwitted Rey. While he sometimes acts as the comedic relief to offer the audience a break from the sheer intensity of Pearce’s performance, he brings a vulnerability to the role that makes you believe him and hope it somehow works out for him in the end.

We Are Movie Geeks:

This film is a big departure from most of Pattinson’s previous films. It seems that he is choosing more artistic, independent films over blockbusters. I’m not sure if this is to break away from his TWILIGHT reputation, but it’s working. Twi-Hards expecting the sparkly, handsome man that they fell in love with as Edward will be sadly disappointed. Instead, they will be greeted by a slow talking, dirty kid who is severely lacking in the IQ department. Having said that, he is phenomenal! Pattinson’s performance surprised me, and left me impressed. He’s making smart film choices, and it shows!

Pearce and Pattinson have an amazing chemistry together, and carry this film in a way that most actors wouldn’t be able to. While neither character is very likable, they somehow manage to make the audience invest in their journey through the incredible Australian landscape. Michôd paints a tonally somber, yet eerily beautiful background for Eric and Rey to exist in.

THE ROVER is both depressing and rewarding. This film is one of the more impressive indie films that i’ve seen this year, and worth the trip to the theater just to watch the chemistry and talent of its leading men.