While this atmospheric Australian Outback thriller has plenty of edgy action, it's also meandering and arty, refusing to fill in the details until filmmaker David Michod is good and ready. This makes it feel rather slow and uneven, although it's at least consistently fascinating. And as a story of tenacity and survival, it's also a gripping drama.
The story is set 10 years after "the collapse", so there's little sense of law and order in the Outback. When his car is stolen by three outlaws (Scoot McNairy, Tawanda Manyimo and David Field), the strong-silent Eric (Guy Pearce) goes in pursuit. Along the way, he picks up the injured Rey (Robert Pattinson), brother of one of the thugs, who knows where they're headed. As they hit the road, Eric and Rey have a series of encounters with people who are alternatively helpful and menacing, from an inquisitive brothel madam (Gillian Jones) to a nervous doctor (Susan Prior) to an in-over-his-head soldier (Anthony Hayes). There are also plenty of marauding thieves and trigger-happy commandoes who don't hesitate before blowing away anyone who looks odd. But as Eric and Rey begin to bond, they still find it impossible to trust each other.
While the overarching plot is fairly simple, the film plays out in a series of set-pieces as Eric responds a variety of tense situations. The big question hovering above everything is of course why he's so determined to get his car back (the odd answer comes at the very end). Michod's style of filmmaking is more interested in provoking thought than fully satisfying the audience, so scenes are packed with inconclusive twists and turns, vaguely undefined characters and situations, and elements that clearly have some sort of meaning but feel rather impenetrable. Pearce's performance fits this style perfectly; Eric is a man who says very little, letting a steely glare convey more than any number of words would. In jarring contrast, Pattinson's Rey is a hyperactive mess, a simple-minded guy who never stops moving and talking.
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In Vienna, British businessman Michael (Law) has arranged to meet Slovakian prostitute Blanka (Siposova) on her first night on the job. But the situation shifts, and Michael ends up thinking about his wife (Weisz) in London.
Meanwhile, she's having a fling with a Brazilian (Cazarre) whose girlfriend (Flor) is fed up with his infidelity. On her flight home, she meets a troubled British man (Hopkins) and a recovering sex-offender (Foster). Meanwhile, an Algerian dentist (Debbouze) in Paris is in love with his Russian employee (Drukarova), whose husband (Vdovichenkov) works for a hotheaded gangster (Ivanir).
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After attempting to briefly educate us about the perils of driving, The Hitcher (a remake of the 1986 cable standby) then jumps straight into the action. A guy (Zachary Knighton) waits impatiently for his girlfriend outside her dorm with a 1970 Oldsmobile 442. As he sits by his muscle car and she (Sophia Bush) comes out with nothing but pajamas and a small backpack on, The Hitcher feels like it should turn into a Penthouse story at any moment. They hop in the car, and before we even get their names we get to see Bush changing in the car and going on the road.
Continue reading: The Hitcher Review