REVIEWS: "Robert Pattinson is phenomenal; an artist surrendering himself to his craft; Pearce and Pattinson work magic together"

REVIEWS: "Robert Pattinson is phenomenal; an artist surrendering himself to his craft; Pearce and Pattinson work magic together"

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Ahhhhhh....loooooove this time. All the praise. The eyes opened wide by the talented Robert Pattinson. This is our latest batch for the nationwide release for The Rover, as well as the Canadian release. Click HERE to purchase stateside and HERE for Canada. If you plan to see the film multiple times, don't forget to save your ticket stubs and click HERE to enter a great giveaway!

If you missed our earlier posts of reviews...
Rope Of Silicon (Grade A):
Pearce is largely quiet and reflective, never giving anyone the upper hand while Pattinson delivers the performance of his career. Slow-witted, but far from dumb, Rey is a product of his environment and doesn't really know any better than what he's seen around him and clearly what he's seen is death without remorse. The fact he clearly feels remorse, at times, is just enough of a character detail to pull you in further, just as it does Eric, a man who seems he has nothing left to lose.
If you're a fan of cinema, you have to see this movie. Sit with it, don't rush it, let it slowly wrap you up and tear you apart before blowing you away in the end.
LA Times:
Set in an economically impoverished future, "The Rover" stars Guy Pearce in a performance of pure controlled ferocity. He plays a man on an implacable, obsessive stop-at-nothing quest to recover his stolen car, with an unrecognizable Robert Pattinson equally strong as a weaker man who gets pulled along in his wake. Tense and remorseless and shot in 100-degrees-plus heat, this is a film that chills the blood as well as the soul.
Campus Circle (grade A):
The real standout, however, is Pattinson, who is given an extremely difficult role as a slow-minded fellow abandoned by his only family and is now in the hands of a near-psychopath. Pattinson elevates his character to something complex and unexpected, and with The Rover, he proves the Twilight Saga was a mere stepping-stone to a much larger and grander platform. I, personally, am thankful to Michôd for giving him that opportunity.
The Movie Blog:
The most impressive thing about The Rover was Robert Pattinson’s unrecognizable performance! With a combination of rustic grit and method acting, Pattinson transforms into Rey, a lost and broken man burdened by the harsh society. It demands serious consideration for awards while showcasing Pattinson’s ability to instill trust into filmmakers that isn’t just the pretty boy from Twilight. This man can act. His performance here is what he was trying to do in Cosmopolis, which didn’t quite work for me. When I described A24 as a “Millennial Miramax,” which takes edgy risks with younger actors, Robert Pattinson in The Rover is a textbook example of flawless execution of the theory.
Schmoes Know:
It’s not the easiest watch in the world…but it’s worth it for the revelatory performance of Pattinson...this role proves Pattinson has serious acting chops. He’s mesmerizing...
Paste Magazine:
Finding human interest in an impeccably made film wouldn’t be possible without performances as deeply felt and genuinely surprising as what Pearce and Pattinson deliver. They turn out to be the sort of startlingly awesome pairing that makes you immediately want to add their names to the #TrueDetectiveSeason2 meme. (All HBO would need is to add a top-notch actress to the mix, and they’d have the trio they’re looking for.)
The real shocker for most will be Pattinson, best known for the Twilight films but recently making a concerted effort to broaden his creative respectability by teaming with the likes of David Cronenberg, Werner Herzog and Olivier Assayas. Cronenberg showcased some of Pattinson’s potential as the cold-blooded money man in Cosmopolis, but Michod allows him to go to another level here. It’s a showy performance but one with enough nuance and vulnerability to demand attention for the right reasons.
More importantly, Pearce and Pattinson work magic together. Their characters couldn’t be more opposite—one a man of few words and another who talks just to talk … the grizzled veteran and the youthful innocent. Watching them slowly find common ground is a genuine delight in a film that otherwise remains purposefully punishing.
Chase Whale/Film Threat:
As this misguided cretin, Pattinson shines. If you’ve ever doubted him as a real actor, you can stop here. He proves he’s the real deal; when the role calls for it, he can project any raw emotion needed.
It’s Pearce’s show, but Pattinson does remarkable work here, shooing away the last cloying vapors of his Twilight-fueled teen-idol aura with Rey’s mushmouth babble and almost canine simplicity.
Awards Circuit: 
Pattinson’s thick, authentic-sounding Southern accent (though it’s unclear why a Southern boy and his brother would find themselves all the way out in Australia) combined with his innocence and optimism help carve out one of the most respectful and honest depictions of the mentally disabled on screen. Rey isn’t some walking stereotype written to gain its actor some Oscar traction – he has a layered, definable identity that immediately draws our sympathies, and yet Michôd doesn’t sugarcoat the malevolence that can quickly rise to the surface when Rey feels threatened.
Quickflix (4 stars):
[Rob] does great work as Rey, the dim-witted sibling of the dude (Scoot McNairy) who made off with Eric's car in the first place. Left to die with a bullet wound from an unexplained prior skirmish, Eric helps Rey to heal so that he may then put a gun in his face and insist he take him to his brother. The flick then evolves into a twisted surrogate father-son tale, with Pearce's rover taking Pattinson's injured bird under his wing and instructing him on how to execute indiscriminately. But Rey finds it harder to shed his humanity than Eric seems to have done.
Reeling Reviews (both giving a Grade B+):
Pattinson, sporting a deep southern drawl, really inhabits his character and garners sympathy as a man left behind by his brother, Henry (Scoot McNairy).
Pattinson is terrific as Rey, a none too bright, twitchy character whom the star inhabits with no actorly tics. He's in pain, but hopeful, and as he's never known another life, takes things as they come. When he finally opens up in a slow, halting speech, we can see the deep thought required to communicate, but his captor counters Rey's goodness with cynical instruction. Still Rey persists (there is a phenomenal scene where Rey, alone in the truck, sings along to Keri Hilson's 'Pretty Girl Rock' with such solemnity it's moving) and Eric doesn't quite know what to make of it.
The Rover hinges on Guy’s connection to Rey, the wounded, simple-minded brother of one of the thieves, whom Guy forces to lead him to his car. Rey is played by Robert Pattinson, and I’m happy to say I can’t imagine a more audience-unfriendly left turn Twilight’s icy dreamboat could have taken. His performance—teeth yellowed, eyes darting, speech filled with tics—is mannered but thoughtful. The two make an odd pair—they have some real #truedetectiveseason2 moments driving across the outback, Rey chattering away, Guy silently glaring—but the movie movingly explores the kind of stunted connection that can grow in arid soil.
Wall Street Journal:
Mr. Pearce and Mr. Pattinson are superb in their roles.
Film Racket:
Eric is no hero. In short order, he steals and commits cold-blooded murder. Michod feints here and there with the possibility that Eric could in fact be more of a monster than the men he’s after. Some of the first words we hear are one of them shouting, “We’ve killed people!” Eric feels no such compunction, and soon has Rey—played by Pattinson with a deftly twitchy kind of gracefulness that plays neatly against Pearce’s raw red ferocity—descending to his level.
Rolling Stone/Peter Travers (3/4 stars):
All you really need to know is that The Rover is a modern Western that explodes the terms good and evil; that its desolation is brilliantly rendered by Michôd and cinematographer Natasha Braier; that Pearce and Pattinson are a blazing pair of opposites. Pattinson, free of the Twilight trap, shows real acting chops, especially in a moving final scene. In revealing two men trying to get in touch with the shreds of their shared humanity, Michôd offers a startling vision. You’ll be hooked.
Austin 360 (4 out of 5 stars):
For the first time in his career, Pattinson gives a performance that goes well beyond the dreamboat image he has cultivated in the “Twilight” saga. His Rey is full of vulnerability and naivete — a sharp contrast to the steely ferocity of Pearce’s Eric, who greets everyone on the road with a cut-to-the-chase statement: “I’m looking for my car.”
Austin Chronicle:
Pattinson duly rids himself of the mindless heartthrob status accorded him by the Twilight trilogy, and here fully demonstrates his acting chops
Silver Screen Riot (grade A-):
In it, Robert Pattinson's star shines bright, offering the best performance of the year so far and one certainly worth of chatter come Oscar season. It's magical enough that Michôd has culled a truly jaw-dropping performance from the oft reviled Twilight icon (who was also strong in Cronenberg's Cosmopolis) but his minimalist take on what remains after society crumbles is a rawhide-tough slice of devastation pie...Like Rey, The Rover is simple without being simplistic, wandering without being directionless, and solitary without being one-note. And maybe most importantly, it's a signal that Pattinson may yet be a star, but in an entirely different way than we first imagined.
JoBlo (8 out of 10):
Robert Pattinson as the neglected Ray is probably easier to like. Simpleminded to the point of being dangerous, Pattinson is really surprising in a role far removed from anything he’s ever done. Often criticized for his vacuous stare, this actually fits Ray to a tee, and he’s incredibly effective in a part that will likely shock his die-hard TWILIGHT-fans, but delight those of us who’ve been wondering if he’d ever get a part that demonstrated some real chops. This is that part.
San Diego City Beat:
Pearce's performance hinges almost entirely on the way his eyes communicate intent, while Pattinson's gutsy turn forces us to see beyond his character's bumbling façade.
News Press:
His stubble, dirty yellow teeth and injuries muting his physical beauty, Pattinson delivers a performance that, despite the character’s own limitations, becomes more interesting as the film moves along
WA Today:
His performance – swinging wildly between childlike naivete and extreme cunning – does fascinate.
Larsen on Film:
Pattinson impressively captures the confusion and fear of not being able to process things as quickly as those around you – which becomes especially problematic when everything around you is a matter of life and death. His mind can’t always shift into survival mode. “Why are you telling me this?” Eric asks him after Rey shares a random story. He replies, “I just remembered it, and it interested me.” But there’s no need for such things in this dismal time and place.
The robustly twitchy Pattinson and Pearce make combustible alliance in search of Rey’s brother. At moments, under burnished yet offhanded light, “The Rover” is literary machismo of a high order. And at others? We’re watching Michelangelo Antonioni’s “Mad Max.” (This is not a bad thing.) Michôd and cinematographer Natasha Braier (“Chinese Puzzle,” “The Milk of Sorrow”) emphasize masculine determination and ineffectuality by fixing repeatedly on the roll of men’s shoulders, face turned to the horizon, spiritual burden expressed in a hitch of step and pitch of the male frame.
One Guy's Opinion: 
The true revelation in the cast is Pattinson, who sheds the pretty-boy image he’s pretty much coasted on until now to give a performance of considerable depth, eliciting sympathy for his childish demeanor while at the same time persuading that when he does take action, he has the cunning to do so. The film proves that he’s a real actor rather than a mere face.
Guy Pearce continues to be one of my favorite actors. His depth and range as an actor is tremendous. He and Robert Pattinson are excellent here.

Pattinson plays it impressively slow-witted and Southern-accented as Rey, a fourth member of the robbery team left for dead by his accomplices, including his brother Henry (Scoot McNairy).
Mercury News:
As he keeps apace of Pearce's immersive acting style, it's clear that Pattinson is capable of much more than what was asked of him in the "Twilight" series. He downplays his pretty-boy image and takes command of the role with the authority of a stage veteran. His Rey is a vulnerable boy-man in a world where innocence will get squashed like a bug.
And Pattinson is a treat to watch as well, his gormless Ray simultaneously threatening and pathetic, a sad tangle of low self-esteem and bitterness.
Slate (3 out of 4 stars):
Pearce was born for this stuff, but Pattinson—grunting slack-jawed to the point of needing subtitles, another layer of obfuscation Michod casts over the film—is sublime. The startling chasm between his characters in The Rover and Cosmopolis suggests a range that'll be properly acknowledged only when Pattinson is older, less appreciated as a heartthrob than for his skill as a seasoned vet.
Las Vegas Informer:
Pattinson doesn’t bother with words to express himself. His character’s emotions just bleed through his body without the need for words. Just the way early man must have begun before he found the use of language for deception...Michôd wrote the character of Eric for Pearce and Pattinson won the role of Reynolds after auditioning! It is a perfect role for Pearce and a brave one for Pattinson – he’s in a different league now.
The Australian:
Though he has relatively little dialogue, Pattinson successfully extends his range as a teen heart-throb with his down and dirty portrayal of a feeble-minded crim, while the always reliable Pearce is everything that could be required from his enigmatic protagonist.
AV Club (B grade):
Credit the leads. Pearce, who looks more grizzled than ever, undercuts his stoic-badass routine with slivers of Leonard Shelby melancholy. And a grimed-up Pattinson gives the type of entertainingly twitchy performance that may yet rescue him from the straitjacket of his tween appeal. But then, the real star of this Down Under downer is probably the gorgeously unforgiving setting. Every cliché shines a little brighter in the glow of a setting Outback sun.
The Dissolve:
Coming off his turn in Cosmopolis, Pattinson heads in the opposite direction of that cerebral character. He plays Rey as a pliant boy used to doing what he’s told. He’s what passes for innocent in The Rover, a kid who never had a chance and who’s only known the world as a cruel, desolate place. Late in the film, he sits alone in a car listening to Keri Hilson’s “Pretty Girl Rock,” and Pattinson makes it seem like he’s receiving a transmission from a kinder, funkier world he’ll never get to visit.
"I was very impressed with Mr. Pattinson in The Rover...Pattinson in The Rover reminded me of Brad Pitt in 12 Monkeys...What I saw last night was an artist surrendering himself to his craft...(GREAT mention of meeting Rob at The Rover LA premiere after party, 3:06) I told Rob he really impressed and it was an eye opening performance."

"I fucking loved it. I really enjoyed the performances. Pattinson is phenomenal. He is a revelation. I didn't know he was this good...He deserves an Oscar. At least a nomination."

Click HERE for a video review, both Australian critics giving The Rover 4 stars:
DAVID: Margaret, what did you think of THE ROVER?
MARGARET: I think it is spare-genre filmmaking. It is really, really well done. I think Robert Pattinson, that role could have gone so easily awry and I think he handles it fabulously. Guy Pearce is just wonderfully solid as Eric. I think one of the great things about this film is the soundscape on it with music by Antony Partos and Sam Petty contributing, as well, to the sound design.
DAVID: Yes, it’s very, very good. Yes.


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