The Rover: bleakness and hyperviolence aren’t not enough

Guy Pearce in THE ROVER
Guy Pearce in THE ROVER

Man, I was really looking forward to the violent Aussie thriller The Rover, because its co-writer/director David Michôd had written and directed one of my recent favorites: Animal Kingdom. Unfortunately, although The Rover delivers the dark violence of Animal Kingdom, it really just doesn’t have enough story.

That story is set “10 years after The Collapse”, in an Australian outback where the social order has completely broken down. No manufactured goods seem to available except for gasoline, which fuels the armed thugs who cruise through the severely bleak landscape preying on what locals remain fortified in their homes and on each other. A perpetually angry and sweaty loner (Guy Pearce) has his car stolen by a gang of robbers, and sets off after them. He soon picks up the injured, half-witted brother of one of the gang (Robert Pattinson of the Twilight movies), who had been left to die at a robbery gone bad. Driving and violence ensues.

By the end of the story co-written by Michôd and the actor Joel Edgerton, we learn why Pearce’s character is so angry and why he wants his car back. But those answers just aren’t enough of a payoff to justify the ride.

I gotta mention the eccentric performance by Pattinson, adorned with some really bad teeth and, for some reason, effecting a West Virginia hillbilly accent. It’s been a long, long time since I’ve seen an actor employ more tics – so many that Pattinson often looks like he is doing a Joe Cocker impression. The rest of the cast, especially Pearce and Gillian Jones, are uniformly excellent.

Skip The Rover and watch Animal Kingdom again instead.

Swerve: predictable action and one scary dude

Jason Clarke in SWERVE
Jason Clarke in SWERVE

In the Australian thriller Swerve, a Good Samaritan drifter gets caught up in a deadly entanglement involving a briefcase full of drug money, some very dangerous guys and a sexy woman of uncertain loyalty.  The movie gets its title from some key moments when vehicles swerve and move the plot along.  There’s a lot of convincing action (there not even any dialogue for the first seven minutes and two fatalities), but writer-director Craig Lahiff is a better director than a writer. If you’ve seen a femme fatale and some action thrillers, nothing in the plot will surprise you. Unfortunately, the wife with wandering thighs is played by Emma Booth, who is unable to elevate the Bad Girl to Kathleen Turner/Lana Turner territory.

The best thing about Swerve is that hulking Jason Clarke (Animal Kingdom, Zero Dark Thirty, Lawless) is really good at playing menace and indestructibility, and here he adds a mad glint in his eyes. Plus there some pleasingly absurd touches with marching bands randomly wandering into otherwise tense scenes. Bottom line: Swerve is one hour forty minutes of unsurprising and predictable action peppered with one fun performance.

Swerve is available on DVD from Netflix and streaming from Amazon, iTunes and Vudu.

Cinequest: Mystery Road

MysteryRoadCinequest spotlighted the contemporary murder mystery Mystery Road, set in the Australian outback.  An indigenous detective returns to his small town to encounter racist co-workers, a drunk and shiftless ex-wife and a resentful teenage daughter.  The daughter is a concern because her gal pals are starting to turn up murdered one by one.  Mystery Road is a solid but unexceptional police procedural except for two things:

  • the very strong lead performance by Aaron Pederson, who brings out the inner conflict within a guy who needed to leave his hometown and his marriage but is tormented by the consequences of those decisions; and
  • the movie’s climactic gun battle between guys using hunting rifles through telescopic sights – a real show stopper .

Hugo Weaving chews up some scenery with a supporting role as a cop with ambiguous motivation.  Weaving, with his supporting roles in The Matrix, V for Vendetta, Lord of the Rings, Transformers, etc., may be the world’s most financially successful character actor.  I first saw Weaving in the 1991 Proof, the breakout film for then 26-year-old Russell Crowe.  In Proof, Crowe plays a young buck who falls in with an eccentric blind man (Weaving) and an uncomfortably needy and manipulative woman (Genevieve Picot).  Proof (available on DVD from Netflix and streaming from iTunes and Amazon) is an excellent and oft overlooked film.  Mystery Road has its moments, too.

DVD/Stream of the Week: The Sapphires

TTHE SAPPHIRES

The Sapphires is a triumph of a Feel Good Movie. Set in the 1960s, a singing group from an Australian Aboriginal family faces racial obstacles at home, but blossoms when the girls learn Motown hits to entertain US troops in Vietnam. Remarkably, Tony Briggs based the screenplay on his mother’s real experience – make sure you stay for the Where Are They Now end credits.

The ever amiable Chris O’Dowd (one of the best things about Bridesmaids) is funny and charming as the girls’ dissolute manager. Jessica Mauboy, who plays the lead singer, has a great voice for soul music. A surprisingly beautiful song by the girls’ mom, played by veteran actress Kylie Belling, is an especially touching moment.

The Sapphires is not a deep movie, but it is a satisfying one. It’s predictable and manipulative, but I can’t think of anyone who wouldn’t enjoy it.  The Sapphires is a guaranteed good time at the movies. 

The Sapphires is available on DVD from Netflix and streaming from Amazon, iTunes, Vudu, GooglePlay and other VOD outlets.

The Sapphires: irresistible

TTHE SAPPHIRES

The Sapphires is  a triumph of a Feel Good Movie.  Set in the 1960s, a singing group from an Australian Aboriginal family faces racial obstacles at home, but blossoms when the girls learn Motown hits to entertain US troops in Vietnam.  Remarkably, Tony Briggs based the screenplay on his mother’s real experience – make sure you stay for the Where Are They Now end credits.

The ever amiable Chris O’Dowd (one of the best things about Bridesmaids)  is funny and charming as the girls’ dissolute manager.  Jessica Mauboy, who plays the lead singer, has a great voice for soul music.  A surprisingly beautiful song by the girls’ mom, played by veteran actress Kylie Belling, is an especially touching moment.

The Sapphires is not a deep movie, but it is a satisfying one.  It’s predictable and manipulative, but I can’t think of anyone who wouldn’t enjoy it.  I saw it at this year’s Cinequest, and predict that it will become a word-of-mouth hit.   The Sapphires is a guaranteed good time at the movies.