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The Rover

The Rover

Crime · Drama · 2014

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.

Movie details

The Rover

“Fear the man with nothing left to lose.”

2014 Crime · Drama 1h 43m

Critical arithmetic

The consensus, allegedly.

IMDb

6.4 / 10

54.1K votes

Rotten Tomatoes

67 %

Tomatometer

Metacritic

64 / 100

Metascore

TMDB

6.3 / 10

Community rating

External scores via OMDb · CC BY-NC 4.0. Values normalized for display; availability varies by title.

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.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over The Rover?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Back Roads

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The Quick and the Dead

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The Kid

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Where it lives

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Names above the title

The people responsible.

Directed by

David Michôd

Written by

David Michôd · Joel Edgerton

Guy Pearce

Guy Pearce

Eric

Robert Pattinson

Robert Pattinson

Rey

Scoot McNairy

Scoot McNairy

Henry

David Field

David Field

Archie

Susan Prior

Susan Prior

Dorothy Peeples

Anthony Hayes

Anthony Hayes

Sgt. Rickofferson

Tawanda Manyimo

Tawanda Manyimo

Caleb

Court is in session

Put The Rover on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Auteur Devotee

“Form is the argument.”

Every composed frame and deliberate cut is evidence that control can be thrilling in its own right.

The prosecution The Popcorn Loyalist

“Technique in search of a pulse.”

Immaculate construction is still construction. The film may be too busy proving its craft to feel alive.