The Rover (2014)
Directed by David Michôd
Ten years after a severe economic collapse in the western world, lawlessness reigns and life is cheap. Eric is a lone drifter, and his car is his only possession. When a gang steals it, Eric comes across the injured Rey, left behind by the car thieves. The pair form an unlikely and uneasy alliance.
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What critics compared The Rover to
There are markers of comparison along the way?Natasha Braier's (2014's " The Rover ") intoxicating cinematography and saturated color scheme remind of Terrence Malick by way of Dario Argento's 1977 masterpiece " Suspiria ," while the portrayal of Hollywood's soul-devouring politics is not unlike 2014's " Starry Eyes "?but these are superficial at best once the trailblazing Refn has his way with the material.
Secuencia tras secuencia, Refn y la cinefotógrafa argentina, Natasha Braier (La teta asustada, 2009; The Rover, 2014), encierran a los personajes en una especie de penumbra habitada por los sonidos electrónicos, ensordecedores y sublimes de Cliff Martinez, y las luces de neón.
But cinematographer Natasha Braier's ("The Rover") camera pulls back to reveal amateur photographer Dean (Karl Glusman, "Stonewall") snapping away.
Natasha Braier, who most recently shot The Rover , favours locked off shots and frames-within-frames, but it all amounts to very little in terms of a consistent aesthetic; what stands out are singular, disparate shots.
Directed by David Michôd (of the not-great War Machine, and the better The Rover and the original film version of Animal Kingdom) and co-written by Joel Edgerton, The King is a movie attempting to stand alone and separate from Shakespeare’s influence, and well, it doesn’t quite work.
Filmmaker David Michôd (“Animal Kingdom,” “The Rover”) and fellow Australian Justin Kurzel (“Macbeth,” “True History of the Kelly Gang”) have more in common than hailing from the same country.
This dark and brooding film by David Michôd (Animal Kingdom, The Rover ) adapts William Shakespeare’s Henry IV Part I and Part II and Henry V plays with thrilling vigour.
Sure enough, this Shakespearean adaptation will be on Netflix by November 1, with the big screen release feeling like the pre-requisite awards season hoop-jumping, and the most honourable way to give director David Michôd ( The Rover , Animal Kingdom ) his due.
With The King, Michôd (the director behind Animal Kingdom and The Rover), has made a fine big-screen entertainment that most people will probably watch at home, on a Netflix-sized rectangle.
His trash talk-threats are the best lines in this Michôd (“Animal Kingdom,” “The Rover”) and Edgerton script.
We’ve seen him do grimy before, in things like The Rover and Good Time (which both premiered at Cannes)—but this is something else altogether.
While us film critics are busy writing up the glittering success that Kristen Stewart has had after the Twilight series (and yes, that includes me ), it’s worth noting that Robert Pattinson is making efforts to become a real actor, too, teaming up with established veteran directors like David Cronenberg (Maps to the Stars) and up-and-comers like David Michôd ( The Rover ).
He was intriguing as Guy Pearce's captive turned sidekick in the dystopian The Rover, and quietly terrific as Charlie Hunnam's employee turned respected colleague in The Lost City of Z. Like Stewart, he's seemingly been freed up by getting to play characters who are, at best, spotlight-adjacent, ones who aren't outsized but who are perfectly to scale.
Like his one-time co-star Kristen Stewart, Pattinson has been course-correcting away from Twilight for years—allowing David Cronenberg to twist his star power into strange new shapes, logging eccentric supporting performances in films like The Rover and James Gray’s The Lost City Of Z .
In the lowlife picaresque “Good Time,” Robert Pattinson delivers what some will surely call a career-making performance, especially if they’ve missed his impressive turns in such similarly non-“Twilight” indies as “The Rover,” “Maps to the Stars,” “Queen of the Desert” and “The Lost City of Z.”
How he finds the subtle nuances to even suggest he’s more than that is all sorts of remarkable even if those trumpeting his work here as a career best are overlooking his stellar turn in The Rover.
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To his credit, this intriguing ingendude has been carving an interesting career post Twilight, bounding from David Cronenberg’s menacing Cosmopolis to his scathing Hollywood satire Maps to the Stars, to David Michôd’s gritty drama The Rover.
…but he also taps into the pathos he brought to The Rover, where he played a mentally challenged man trying to make sense of a violent, post-apocalyptic landscape.