‘The Rover’ Cannes Press Screening – Reviews + Media Reactions   3 comments

pi7uvt3-horz

Here are some reviews and media reactions from the ‘The Rover’ Press Screening this morning

Bn3YzZlIcAIctaD

From Variety

Tipping its hat to George Miller’s “Mad Max” trilogy while striking a more somber, introspective tone, 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. A commercial challenge due to its mix of explicit violence, measured pacing and narrative abstractions, the pic should earn the warm embrace of discerning genre fans and further establish Michod as one of the most gifted young directors around. Pearce is fiercely impressive here as a man who gave up on the human race even before the latest round of calamities, and if there are occasional glimpses of the kinder, gentler man he might once have been, we are more frequently privy to his savage survival instincts. But it’s Pattinson who turns out to be the film’s greatest surprise, sporting a convincing Southern accent and bringing an understated dignity to a role that might easily have been milked for cheap sentimental effects. With his slurry drawl and wide-eyed, lap-dog stare, Rey initially suggests a latter-day Lennie Small, but he isn’t so much developmentally disabled as socially regressed — an overprotected mama’s boy suddenly cast to the wolves — and Pattinson never forces or overdoes anything, building up an empathy for the character that’s entirely earned. He becomes an oasis of humanity in this stark, forsaken land.

Read more reviews and reactions after the jump

From Indiewire

Pearce’s scowling appearance and relentless ability to force others to meet his demands—particularly in a sudden burst of violence when he seeks out a firearm—marks his strongest role since “Animal Kingdom,” while Pattinson finally moves beyond wooden mannerisms to give his awkward character a pathetic, creepy demeanor.

From The Hollywood Reporter

Pattinson delivers a performance that, despite the character’s own limitations, becomes more interesting as the film moves along, suggesting that the young actor might indeed be capable of offbeat character work. But 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.

From The Guardian

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. I even had the suspicion that the screenplay should perhaps have gone through one or two more drafts, or perhaps returned to an earlier draft, when casting was clearer. Well, Michôd certainly delivers some brain-frazzling heat and directionless despair.

From  Little White Lies

Performances are pitched just right between hard-bitten and mournful. Guy Pierce, as all know, has stoically grizzled down to a fine art, while Pattinson manages his new non-heart-throb ground (the make-up team have wrought merry hell on his teeth) with admirable pathos. His limp, hick accent, facial tics and staccato delivery play second, third, fourth and fifth fiddle to a whole lot of heart, and one that Eric cannot help but fall for. If there’s one thing this violent metaphysical drama emphasises it’s that heart is, when all else fails, a man’s best friend.

From Vanity Fair

When we first see Pattinson, he is covered in dust (as is just everything else in this film) and clutching a gun wound to his gut. His hair has been chopped down to an unglamorous crew cut, and his teeth are those of a lifelong tobacco-spitter. He speaks in a high-pitched Southern drawl, and he’s as twitchy as Pearce is ice-cold and deliberate. In one endearing sequence, Pattinson even busts out a falsetto to sing along to the chorus of Keri Hilson’s “Pretty Girl Rock.”

And yet, many of the qualities that made Pattinson and international heartthrob remain: the red lips, the expressive brow, the lean physique and ivory skin. Unlike Edward Cullen of Twilight, however, this Pattinson doesn’t brood. Brooding is Pearce’s job in this film, and he takes the responsibility very seriously.

From The Playlist

We say fractionally, because the arc of change the characters undergo is minute and brilliantly underplayed by the actors; Pearce is reliably riveting as the totally stonefaced Man With No Name Except Maybe Eric, and Michod exploits his charisma for all its worth in the many extended takes of his inscrutable, unreadable mien, while Pattinson, who we were initially worried might be too tic-laden to fully convince, actually turns in a performance that manages to be more affecting than affected. It’s certainly the best we’ve seen him deliver, despite the rather standard-issue-halfwit yokel accent and the actor commits to it wholly. The contrast between these men, Pattinson as twitchy as Pearce is impassive is marked and its in the space between the two, punctuated by bursts of gunfire, that the film really lives.

From Buzzsugar

Pearce is the center of the film and a forceful presence as usual, but Pattinson puts in a formidable and truly transformative performance all his own. Rey is an unattractive character in an unattractive world, with rotten teeth, a bad haircut, and an off-putting, twitchy demeanor, but there’s no sense that Pattinson did any of this in a superficial effort to ugly himself up and distance himself from his heartthrob image. If anything, the role should stand as proof to any doubters that with the right director and the freedom to break free of his own public persona, Pattinson has real ability and magnetism on screen. You can judge for yourself when The Rover hits theaters in the U.S. beginning on June 13.

From HitFix

Robert Pattinson’s Rey seems like he’s barely able to function as a person. He mumbles, he seems like a bit of a dummy, and while he seems capable of violence, he feels like a scared kid who’s constantly terrified of everyone else, unsure why people do what they do, unable to communicate on those rare occasions that the synapses all actually do fire. He’s very good in the role, and while I’m not crazy about the film as a whole, if Pattinson keeps making choices like this and his ongoing collaboration with David Cronenberg, there may actually be a future for him where people are genuinely shocked to learn that he starred in the “Twilight” movies.

From Screendaily

When, for much of the central section, the film becomes effectively a moody two-header for Pattinson and Pearce, The Rover essentially flatlines. Still, there’s much here to admire, not least the casting of some formidable plug-uglies, the general grunginess and grubbiness created by designer Jo Ford, and the ominous metallic clang of Anthony Partos’s unusual score.

From Firstshowing

While the film and its experience is fresh in my mind, the more I begin to think about it and process it even as I begin writing about it, the more I realize how much Michôd has hidden in the silence, in the quietness and dialogue-free moments. In turn, this makes every last word spoken that much more important. Pearce, similar to Ryan Gosling in Drive, carefully chooses every word, every twitch, every muscle in his body to deliver a performance that speaks volumes while actually saying very little. Even Robert Pattinson, giving one of his best fidgety, aloof performances to date, has so much more to say between every word he speaks.

From Empire Online

As anyone who’s seen Animal Kingdom will know, the squeamish need not apply: there are shocks, but not in a gimmicky way. This is about communicating the horrors of a desperate, barren world – something we’ve seen before, of course, but Michôd gives it his own spin. Characters are well-drawn, despite long swathes without dialogue – Pearce is as strong as he’s ever been and Pattinson shows more range than many might expect.

From Vulture

Several members of the press have advanced the notion that The Rover finally proves Pattinson’s acting chops, though I think he already acquitted himself admirably two years ago when he starred in David Cronenberg’s Cannes premiere Cosmopolis. What they really mean is that The Rover lets Pattinson be butch for once, waving around a gun and caking his face with blood and dirt in a bid to prove his manliness in the wake of Twilight.

It’s ironic, then, that the best-liked part of The Rover comes when Pattinson — and the movie — gets a little lighter in the loafers. Sitting alone in his car before a major gun battle, Pattinson listens to the radio and sings along. The song is Keri Hilson’s “Pretty Girl Rock,” and Pattinson’s dumb-dumb launches into an unexpectedly sweet falsetto, certain that no one is watching. “Don’t hate me ’cause I’m beautiful,” he croons. “Now do the pretty girl rock.” Pattinson knows what it’s like to be hated for his franchise-leading beauty, and the solutions are clear: He can either brush that dirt off his shoulder, or, as in The Rover, smear it all over his face.

From Toronto Star

Pattinson’s Rey has an accent that sounds more Arkansas than Aussie, no reason given, but delivers a seriously good performance that will help move him past his vampire trifles. He’s well-paired with the reliable Pearce, who has played desperate men before, but never one of such contained fury.

From Roger Ebert.com

There is a huge amount of talent on display in “The Rover”, and the opening ten minutes is as captivating as anything you’re likely to see at the movies this year. In it, Michôd presents pieces of his narrative puzzle in a series of near-surrealist vignettes that we’re excited to see come together.

From Movie Pilot

The director does hark back to some of his stronger points though with counterpointed pop music interspersed in a rousing, almost adventurous avant garde score. Most impressively of all, the director draws a remarkably against-type performance from his Twilight star. Pattinson pulls off nervous twitching, shoddy posture and general writhing to great effect; his character’s a classic fool and he plays it so

From Australian Associated Press

Repeating the feat was always bound to be difficult but 41-year-old Michod’s follow-up – a road movie from hell – is enthralling, unrelenting and superbly acted by leads Guy Pearce and Robert Pattinson.

Pearce, conveying as much with his gaze than anything else, is captivating throughout as his past and motives are slowly revealed right up until the final frame. Former teen heartthrob and Twilight star Pattinson delivers potentially his best performance yet, convincing as the twitchy Rey and evoking empathy in his tortured struggle between family loyalty and resentment at being left for dead.

From Metro UK

Up against Pearce, Pattinson steps up his game and acquits himself admirably. He plays tic-laden Rey from the American South, complete with hillbilly accent, with wide-eyed, dim-witted naivety.

As Pattinson continues to do his utmost to shy away from his heartthrob status, it’s a huge departure from anything he’s done before and he gives it his all in the best performance of his career so far.

From Hey U Guys

Like most films set in the future, Michod’s The Rover is a damning indictment of our society and a warning of the price we might pay for our behaviour. Yet there is nothing here we haven’t seen before. It has much in common with films such as The Road, but adds little to it. Guy Pearce excels in a difficult role and Robert Pattinson is believable and entertaining as his partner on this oft-beaten track through a dystopia of our making.

From TotalFilm

Despite its lunges of violence, fractured family relationships and coarsely handsome visuals, David Michod’s follow-up to his acclaimed debut, Animal Kingdom, is an altogether different beast. 

Set in an impoverished near-future ’10 years after the collapse’, it opens with the steely-eyed, close-mouthed Eric (Guy Pearce) squinting at a desolate horizon. We’re in the south Australian outback, a world of blinding white skies and never-ending desert. Save for the occasional rundown gas station or sagging farmhouse that dot the widescreen frame, the bleak, bleached vistas never change.

Eric’s precious Sedan is stolen by three men (Scoot McNairy, David Field, Tawanda Manyimo) who’ve flipped their truck. Righting the crashed vehicle, he sets off in pursuit. Along the way he picks up Rey (Robert Pattinson), the wounded brother of one of the men, and tries to get him to spill the location of their hideout. And that, plot-wise, is pretty much it.

Viewers wanting the genre-trappings of Animal Kingdom and its deft interweaving of a colourfully savage ensemble – to say nothing of its character-rich yet taut, propulsive plotting – will be in for a shock.

And likewise, anyone expecting the gung-ho carnage of the Mad Max Trilogy will discover a similar world but stripped to the sun-bleached bone. This is almost anti-narrative, anti-action cinema, and is to Michod’s debut what Nicolas Winding Refn’s Only God Forgives is to his previous crowd-pleaser, Drive. More than anything else, it rides in the dust-clouded trail of ‘70s existential road movies like Vanishing Point, Two-Lane Blacktop and Electra Glide In Blue.

The Rover is primarily two men in car, driving. Michod’s screenplay, based on an idea that he and Joel Edgerton cooked up before Animal Kingdom went into production, tells us little of the world before the collapse, of what the meltdown entailed, or of Eric’s motivation beyond wanting his car back.

There are hints and glimpses and the final scenes inform us of a crucial incident in our anti-hero’s previous life, but it’s a film that staunchly believes that less is more – and trusts the viewer to either fill in the gaps or to welcome them.

The technical credits are first-rate and both Pearce and Pattinson convince in their roles, the former mad-eyed and clenched, the latter confused of mind and slurred of tongue and possessed of a touching purity. Between this and his work for David Cronenberg, Pattinson is suggesting his career post-Twilight will sparkle like Edward Cullen’s skin.

Michod, meanwhile, confirms he’s a filmmaker of considerable talents.

Twitter reactions


3 responses to “‘The Rover’ Cannes Press Screening – Reviews + Media Reactions

Subscribe to comments with RSS.

  1. Pingback: Pattinson lands in Cannes, sings Keri Hilson & gets rave reviews for his performance in ‘The Rover’ |

  2. Hope has always existed and always successful, because I see only robert patinson. The only actor’ who came to fame in the eyes of his specially for the young couple in the whole world, may still go ahead ‘and make the best for the fans of twilight” and other films is in the role by robert pattinson,

  3. Pingback: ‘The Rover’ – Exibição em Cannes 2014 – Comentários e Reações da Mídia « Portal Robert Pattinson || Sua Dose Diária de Robert Pattinson

Leave a Reply

Fill in your details below or click an icon to log in:

WordPress.com Logo

You are commenting using your WordPress.com account. Log Out /  Change )

Google photo

You are commenting using your Google account. Log Out /  Change )

Twitter picture

You are commenting using your Twitter account. Log Out /  Change )

Facebook photo

You are commenting using your Facebook account. Log Out /  Change )

Connecting to %s

This site uses Akismet to reduce spam. Learn how your comment data is processed.