‘The Rover’: Back in ‘Mad Max’ territory, Guy Pearce will kill to get his car back
In a lawless, post-apocalyptic Australian outback, the remaining shards of humanity fight to survive, often coming into conflict over scarce resources. If that sounds a bit like “The Road Warrior,” it should, both in the coveted use of vehicles as an extension of one’s machismo and the dearth of precious petrol, but what transpires in “The Rover” is less baroque and more intimate and rooted in the now. In fact, it feels strangely more akin to John Hillcoat’s “The Proposition,” which took place nearly a century and a half ago, and fittingly enough the star of that macabre outback western, Guy Pearce, pops up here again, finding himself back in a vast deserted wasteland punctuated with sparse outposts of human occupation trying to cling to civility in an otherwise orderless nowhere.
Pearce plays the barely named Eric, an aloof loner with an ostensible military background. The film opens with the tacit protagonist making a pit stop at an isolated karaoke bar (which looks more like a grimy torture chamber from a “Saw” movie than a place of merriment) for some water and a bite when a speeding truck laden with unsavory lads crashes, and its occupants quickly disembark and carjack Eric’s sleek, lean coupe. That’s it – from there on out, Eric will stop at nothing to reclaim his car. It’s a straight-up one-noter like “Duel,” propelled by Eric’s simmering resolve and the ever pungent question as to what else has to be in that car to make Eric want it that bad. Continue reading
The hook has three computer nerds on a cross-country trip to take the lone female, Hayley (Olivia Cooke of “Bates Hotel”) to a California tech school. One of the guys, Nic (Brenton Thwaites, most recently in “Maleficent”) is her beau and on crutches, the result of some sort of poorly explained disease or condition. The relationship is strained, not only because of looming long distance and physical barriers but because Hayley is defecting from MIT, where Nic and Jonah (Beau Knapp) remain. The two lads are also engaged in a hacking war with an online entity known as Nomad. Nomad’s bona fide; he can hack into a security cam and send the trio a pic of their dusty station wagon as it heads through the plains, or take over one of their laptops. Finally, the two get a bead on Nomad somewhere in Nevada and they decide to take a detour. It’s also where the boldness of “The Signal” starts to fade. 
Besides being set in a harsh future where the threads of humanity claw and scrape to hang on, the two films boast multiple Toms. In “Oblivion” his Jack Harper is one of two human agents on a toxic Earth running seawater siphons to feed the rest of humanity on a housing platform in the near atmosphere (there’s more to it than that, and it’s a worthy watch) before coming shockingly face to face with another Jack Harper. In “Tomorrow,” Cruise is Major Cage, a cocksure military PR man who gets placed frontline in the battle against an invading alien species sweeping through Europe and poised to eradicate all of mankind – and he can rise from the dead. Cage can’t stomach the sight of blood and has never seen combat, but he gets demoted to private and injected into a troop of misfits as presumed fodder for the invading Mimics, which look like giant angry dust bunnies with metallic tentacles and a lion-like mug, when they take the beaches of Normandy. That presumption proves correct – initially – but after Cage gets laid to waste by an angry Alpha Mimic, he’s somehow imbued with the ability to pop back to life 24 hours before his expiration, or something like that. 
There are some clever, brilliant nuances to “X-Men: Days of Future Past,” such as the scene where Quicksilver (Evan Peters of “American Horror Story”) in a slo-mo microsecond aptly done to Jim Croce’s “Time in a Bottle” rearranges the trajectory of bullets and plays puckish pranks on the guards holding the guns about to take out Professor X (James McAvoy), Magneto (Michael Fassbender) and Wolverine (Hugh Jackman) or when Wolverine travels back to 1973 and wakes up next to a lava lamp and the shrill pitch of Minnie Riperton singing “Lovin’ You” (though I believe that was a ’74 or ’75 song). And so why 1973? Well there’s an impending apocalypse in the now that stems from the actions of a pint-sized McCarthy-minded White House adviser named Trask (Peter Dinklage) who wants to wipe out all the mutants, and to do so he has weaponized a solution by leveraging the DNA of Raven/Mystique (Jennifer Lawrence). Zany history-rewriting threads involving Nixon and Kennedy ensue and there’s a neat Vietnam spin reminiscent of Zack Snyder’s “Watchmen,” and a follow-on in Paris that intrigues, but the developing action becomes a tedious waiting game pulling the whole construct down and the flashing to and fro begins to take its toll. 
Why a “name” thespian checks into such a project has to be twofold: a leading-role paycheck for cameo work and exposure – “You’ll become a household name,” you can almost hear an agent say. Think of Marlon Brando in “Superman,” a record payday for a few minutes of labor, though by that time he couldn’t much care about exposure because it invariably became fodder about his increasing corpulence. One too might think of Raymond Burr (“Perry Mason” and old “Ironside”) appearing in the 1956 American recut of the 1954 Japanese “Godzilla” (née “Gojira”). To garner a U.S. market, Burr was edited in as an American in Tokyo as the infamous dino-beast rose up from the ocean depths and merrily stomped the port of Japan.
The premise is quite simple: A man gets in his car and drives for nearly 90 minutes in crisis management mode. Hardy’s Ivan Locke is a high-performing construction foreman building the biggest modern-day skyscraper in the London area, but panicked calls from a woman in a hospital needing his reassurance keep pouring in over his BMW’s Bluetooth system. He also uses the system, a platform for his calm control over things out of his reach and the driving plot device for the film, to let his most loyal know he won’t be there at 5 a.m. when hundreds of cement trucks roll in to pour the building’s foundation. This sets off a management shit storm, but Locke, ever calm and confident, defuses each mini-tempest with reason, explanation and solution. What’s not so easy are the calls from his wife, who is confused as to why he is driving through the night and not home watching the big soccer game with the boys. 
Going back to “Stranger Than Paradise” and “
The film begins tranquilly enough in a sleepy little English shore town in the 1980s, where at a men’s club meeting over beers, the somewhat reluctant Eric (Colin Firth) wistfully recounts his affection for Patti (Nicole Kidman), a women he met recently on a train. Trains and railways happen to be an obsessive hobby for Eric (thus the title). He’s also a kind and engaging soul, and soon enough he and Patti are moving toward marriage in all the most maudlin and pat ways possible. It’s here the film begins to feel dangerously like a large, sugary gobstopper, all fluff and no fire, but then the closet door opens and the skeletons start to pour out. Eric erupts in night terrors, he’s fiscally a disaster and sometimes he mutters to people who aren’t there.
The film starts off on the morning of the big, titular day with Sonny going back and forth with his girlfriend Ali (Jennifer Garner) about who he might pick. And of course she has some big news to tell him, but his phone keeps ringing. Cleveland has the No. 1 pick in the draft and everyone wants it because there’s a QB out there who’s the next Tom Brady – interesting timing because the team that’s after him the most, the Seattle Seahawks, have Russell Wilson and just won the Super Bowl. It’s kind of the same post-shoot conundrum that afflicted “Fever Pitch” when the Red Sox won their first World Series in 86 years and the filmmakers had to scurry to stay with the times).
Director David Gordon Green’s been a bit all over the map himself, from the small indie gem “George Washington” (2000) to the raucous stoner mayhem in “Pineapple Express” (2008) and most recently, “Prince Avalanche” (2013). “Joe” begins on a promisingly sober note as Gary (Tye Sheridan, filling a role similar to one in “Mud”), a youth of poor means, takes up a hatchet on a brush-clearing gig for Joe, whose reputation as an explosive ex-con is known throughout the depressed Texas enclave. Gary’s amid a lot of people who look like they know Joe from his days behind bars, but they’re all hard-working now and focused.
For What it's Worth 