samedi 17 mai 2014

*UPDATED* First *REVIEWS* following the Press Screening for "The Rover"...


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from Variety
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.

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.
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from The Playlist
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.
Accompanied by an eclectic score of drones and electronic pulses interrupted by some incongruous tracks (including a very funny, slightly meta use of “Don’t hate me cause I’m beautiful” as hummed-along-to by Pattinson) the story Michod and Joel Edgerton came up with, all the way back before “Animal Kingdom” may not quite reach the heights of that crime saga, but it arguably fulfills another important function: it shows Michod work with other genres and textures, and still make a film that is unmistakably his, and that is how auteurs are made.
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.

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from Popsugar / Buzzsugar
Audiences and critics at the 2014 Cannes Film Festival haven't been kind to too many of this year's offerings, with Nicole Kidman's Grace of Monaco and Ryan Reynolds vehicle The Captive leading the pack of worst-reviewed movies. But The Rover has been a rare bright spot in an otherwise relatively dim field. The tense, gritty film, which pits Guy Pearce and Robert Pattinson against each other at times — and makes them begrudging allies at others — won't be for everyone, but it promises something powerful for those who can stomach its dismal worldview and brutal violence. It also may give Pattinson his best shot yet at proving his post-Twilight staying power. 
The Rover was co-written by actor Joel Edgerton (The Great Gatsby) and director David Michôd, who previously teamed up on the critically acclaimed 2010 film Animal Kingdom. Set in a desolate Australia ten years after the collapse of society, it echoes the same dark, downtrodden tone of their previous collaboration. Eric (Pearce) witnesses his car being stolen and sets off on a singleminded mission to track down the band of killers who took it. In the process, he crosses paths with Rey (Pattinson), who has been left to die by the thieves; one of whom happens to be his older brother. What follows is a film that will repel some audiences with its startling moments of violence, jarring soundtrack, and meandering story, but that will equally attract others with its questions about life in a world without consequences and a stunning-but-quiet conclusion that brings the events of the previous hour and a half — and the film's title — into sharp focus. 
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.

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from First Showing
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
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.
The Rover is one of those compellingly nasty visions of the future that has plenty to say about humanity – whether we want to hear it or not."
from The Star
This minimalist gem affords a chance to see ex-Twilight star Robert Pattinson at his dramatic best. He’s paired opposite Guy Pearce, also in top form

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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.
from Ecranlarge
translated from French
The Rover is an absolute shock, an outstanding movie that carries the post apocalyptic trip towards unknown and paroxystic heights.
The movie aims to be a work with a kind of genre capable of pushing the boundaries of post-apocalyptic road trip.
David Michôd reaches that goal brilliantly, making here his first masterpiece.

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from Roger
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 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 Next Projection
hough thematically similar to Mad Max, another Australian dystopian roadmovie, The Rover is an interesting take on a future dystopia with compelling performances by Pearce and Pattinson, with the latter succeeding in getting rid of his Twilight-image.
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.
I will keep that post update...

source: RPL
source update #1: RPL
source update #2: @POPSUGAR
source update #3 and 4: ROBsessed
source update #5: RPL

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