The Rover

David Michôd’s second feature, after the superbAnimal Kingdom, was always going to have a lot to live up to. As Michôd said prior to the screening at Sydney Film Festival, “we roll into Cannes and I can feel everyone’s beady eyes on me”. There’s something admirable, then, in the way he completely rejects many of the elements that made his debut so startling. Gone is the nuanced dialogue, the clever characterisation and the carefully constructed plot – in its place is a growling thriller, read...