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.
A mysterious outsider's quiet life is turned upside down when he returns to his childhood home to carry out an act of vengeance. Proving himself an amateur assassin, he winds up in a brutal fight to protect his estranged family.
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.]
See more »
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.
[...] See more »
Given the post-collapse Outback setting, comparisons to MAD MAX are inevitable. But THE ROVER has more in common with THE PROPOSITION; it's a distinctly brooding affair, gritty and somewhat nihilistic. We aren't given a background for "the collapse", but society's definitely a shambles. And that loss of morals is embodied by on-the-raggedy-edge Guy Pearce, who appears shockingly gaunt and emotionally beaten. He's the reason why I sought out this movie, and the reason why anyone should; it's a seethingly intense performance. The movie doesn't offer any reason why Pearce is gunning for his stolen car until the very end - and though I do like the reason given, this is a very bleak movie. It'll be a while before I ever come back to this one.
11 of 16 people found this review helpful.
Was this review helpful to you?
| Report this