A soldier comes back from a mission, gets murdered, but is brought back to life with superpowers and now he seeks revenge.
I’m not going to slay it. The film suffered irreparable damage from the pandemic but was not going to perform well anyway. Director Dave Wilson is a VFX director and it showed straight away on his feature debut. The film’s narrative doesn’t flow and the editing, probably for production reasons, is trying to pick up the pieces and put them together. It didn’t even mimic or attempt to better the à la The Edge of Tomorrow (2014) repeat mode part to enhance and engage the audience with Bloodshot’s “nightmare”. Toby Kebbell’s and Guy Pearce’s charisma didn’t get the chance to shine at all as, once again, the narrative didn’t do anyone any favours.
Films like Bloodshot work as reminders that even if the original source is a best selling graphic novel (Valiant’s in this instance), this merely means that the respective film will be as successful. “Don’t judge a book by its film”, I read somewhere. It’s a shame, the film was doomed to take a big hit either way.
I would like to conclude by taking my hat off to the VFX department as they couldn’t have done it better and the result of their work is highly impressive.
Wipe Hollywood completely out of Mad Max, and you get David Michôd’s post-apocalyptic Rover. This desolated Australia manages to crawl under every antihero’s skin and plant the seed of isolation and fear of their already existing despair.
In this endless pitch-black tunnel, a light shines upon the most unlikely friendship between furious Eric (Guy Pearce) and mentally vulnerable Rey (Robert Pattinson). A light that comes from the abyss of their soul, indicating that, even though everything has gone awry, the tide can still change.
Australian cinema is relentless as much as it is beautiful. And with producer/writer / director David Michôd and writer Joel Edgerton you know that it can only be relentlessly beautiful. Guy Pearce has always been spectacular which leaves us at the end with…
Robert Pattinson! A script has a main philosophy: Show, don’t tell! Robert Pattinson doesn’t say a word. He shows, having nothing to prove, that he is an actor. As if “Remember Me” (2010) was not evident enough, “The Rover” rubs it in haters’ faces.
A cinematic achievement from writer/director David Michôd that will keep you engaged from the opening scene to the end credits. In front of the camera, Detective Guy Pearce and the not so beloved and highly dysfunctional Cody family, Ben Mendelsohn, Joel Edgerton, Jackie Weaver, James Frecheville, Luke Ford, and Sullivan Stapleton, perform magic and take us back to some of the Melbourne crime scenes of the ’80s.
“Animal Kingdom”, a realistic crime/drama, straight out of the genuine Australian film school that always appeals to the deepest human emotions, is true to its genres and honest to its execution. A film that earned its stripes, gave prominence to actors and crew, got nominations all over the world and, unarguably, dominated at the AFI.