The Rover (David Michôd)

Saw this earlier, and while it's hard to fault the unapologetically bleak tone Michod establishes and maintains, I couldn't shake the feeling that it's merely another variant on ideas we've seen a whole load of times before. Certainly an exaggeratedly desolate Australian outback setting can't help but feel overfamiliar at this point given how many films have done so - especially given how memorably it was handled in the likes of Wake in Fright. The 'odd couple bonding on post-apocalyptic roadtrip' is borderline hoary (although here, it should be said, the relationship takes a slightly different path). Even within the film, it quickly becomes apparent that the film has one major dramatic tool up its sleeve that it insists on repeating to the point of predictability - The film makes its strongest impression in the opening half hour, and then settles into a rhythm that doesn't tell us a whole lot of new information or take us anywhere really interesting until the closing minutes.

Nonetheless, I think most viewers will struggle to dispute that the film makes few concessions in bringing its dark and violent world to life, with most of the characters themselves husks in a world where the concept of empathy seems to have disappeared entirely. It's gritty to the point where you can almost feel the oppressive heat, dust, sweat and dried blood. The cinematography is strong, as are the performances - although I must confess Pattenson's performance bordered on hicksploitation pantomime whenever he spoke, and his performance was more affecting during his quieter, more desperate moments. The soundtrack is really interesting and unusual - a tad invasive on occasion, but mostly fits in with and supplements the mood of the piece. Michod remains a director of much promise and obvious talent, but given some of the issues mentioned above he struggles to push The Rover to great heights. Still worth a gander, though, as it's one of the least romantic films you'll see in cinemas this year

Fysh wrote: »

I think The Rover is all the stronger by choosing instead to follow the life of just another screw-up amongst many, surviving however he can in an unforgiving mess of a world.

It's definitely served well by 'normalising' the setting - a quick title card and a few ambiguous references in dialogue are all that's needed alongside the mere realisation and details of the setting itself. After all, it's hardly like these characters are going to be discussing the details of the collapse on a daily basis The minimal approach is both appropriate and a natural fit for the material. I also liked how all this was clearly just one miserable episode of many in the ongoing desperate existence that is Pearse's characters life -
It frustrated me that they took this clearly rich setting and didn't come up with many imaginative or unique ways of exploring or elaborating upon it - almost all the major scenes are mere variations on a common theme: a temporary peace interrupted by a sudden act of violence. Given how common these type of settings and stories are in literature, films and even games (certainly some shades of The Last of Us here, which itself was inspired by a whole host of other works) and Australian cinema in particular, I was left wanting for something that felt 'new'. At least Michod's direction ensures that even if it lacks originality in several respects, it's all realised with enthusiasm and artistry.