10 years after a global economic collapse, a hardened loner pursues the men who stole his only possession, his car. Along the way, he captures one of the thieves' brother, and the duo form an uneasy bond during the dangerous journey.
Riding across Manhattan in a stretch limo in order to get a haircut, a 28-year-old billionaire asset manager's day devolves into an odyssey with a cast of characters that start to tear his world apart.
It's the Wild West, circa 1870. Samuel Alabaster, an affluent pioneer, ventures across the American frontier to marry the love of his life, Penelope. As his group traverses the west, the once-simple journey grows treacherous, blurring the lines between hero, villain and damsel.
'The Pure and the Damned' by Oneohtrix Point Never ft. Iggy Pop from the official soundtrack of Good Time including unused scenes of a 'what if' ending if Connie and Nick successfully completed the heist.
Ten years after a global economic collapse, a cold-blooded drifter traverses the scorched Australian outback on a mission to track down the men who stole his last remaining possession - his car. When he crosses paths with a badly wounded member of the gang, he takes the vulnerable, naïve young man along as his unwitting accomplice.Written by
The scene, which involves Rey (Robert Pattinson) listening to the song "Pretty Girl Rock" by Keri Hilson, is a joke by the director to remind the audience of how pretty Pattinson used to look in the Twilight films. See more »
[All goofs for this title are spoilers.]
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We're not turning around. He's gone!
What do you mean, "He's gone"? He was still moving. I fucking saw him still moving.
We killed people!
What do you mean? Turn the fucking car around!
He's gone! What are we supposed to do?
Damn it, this shit's not worth it for me to leave him there!
We killed people, man.
God damn it! Please, I'm begging you. He's my fucking brother.
[from the back seat]
I said this would happen.
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I'll admit I don't watch a lot of Australian cinema. I'll also admit that I didn't really care a whole lot for Michôd's previous film Animal Kingdom—certainly not as much as the rest of the world seemed to. So it was with some amount of skepticism that I went to see The Rover. But I am really, truly glad that I did.
This is an astonishingly good film, built around a wonderfully nuanced and rich, but extremely sparsely specified post-apocalyptic Australian outback setting. We follow Eric (Guy Pearce), a taciturn but brutal loner, who goes on some kind of personal rampage after his car is stolen on a remote road. Along the way, he finds Rey (Robert Pattinson), who he forces to assist him.
The world-building in this film is astonishingly good. Michôd creates a very bleak environment for his very bleak characters, and hints at the disaster that left the world in this way—people only accept US currency, for example, but the reasons are left tantalisingly absent. The dusky red cinematography of the outback creates a beautiful backdrop for the sense of desolation.
Moreover, the performances throughout are superb. Pearce is dangerous but distant, creating a character who seems to have lost the same vestige of humanity as has the society in which he now lives. But I was even more blown away by Robert Pattinson's co-dependent Reynolds, whose violent actions belie his heart-rending naïveté and fragility—one scene towards the end of the film where Rey and Eric seem to open up to each other a little more around a campfire is truly affecting. I'm really pleased to see Pattinson taking on these sort of roles—he's a truly great actor, and I'm so pleased that the Twilight franchise didn't ruin him for the rest of us.
Overall, this film was a truly remarkable and wonderful piece of cinema. Even though I doubted Michôd after Animal Kingdom, this film assures me that I will continue seeing his films going forward. This was an absolute highlight for me, and I hope more broadly marks a resurgence for Australian cinema on the world stage.
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