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Going in I had no real idea what to expect as I avoided reading the reviews and I will watch any movie that Hugo Weaving is part of as he has rarely disappointed me, this was no exception.

A rather depressing and slow unusual movie that most will not get or like. Being very slow you really need to watch the whole movie to get anything from it at all.

I would describe this as a man movie and it seems like a realistic take on life. Life serves up some nasty surprises and some really nice surprises, this one gives us a few of both.

I particularly liked the relationship between the two main characters and there were no loose ends with a satisfying ending.

Not a movie to watch if you are depressed.

Did not have overly high expectations of this one, but 15 minutes into it, I found it to be quite moving, and was looking forward to it continuing in that vein. But the next 45 minutes ( I gave up at the hour point) just left me confused, bored, semi depressed, and struggling to make sense of the two men's behaviours? There have seemed to have been a rash of 'men in crises' films these past few years, some good (Whale) some not so good (Beau is afraid), with Rooster falling into the not so good category IMO.

Production values are good, with atmospheric visuals and soundtrack, editing is neat and tidy, apart from a couple of jarring scene transitions.

There are only two main characters, one likeable the other not, but ultimately ( well, up to 60 minutes) I found I did not care what happened to either of them, even though their unremarkable back stories were explained (in unremarkable ways).

Maybe the final 40 minutes makes it all make satisfying sense? I will likely never know.

I'm not a feminist and I believe men deserve to have their stories told but I found this to be a tedious journey trying to explore the minds of broken men. The exploration itself is at the pace of a snail, I found myself and my girlfriend looking at our phone because many of the scenes just were too quiet that nothing was really going on. I love quiet and poetic cinema and always applaud the use of restraint in storytelling, especially not to over-indulge with so many film-making trickery and camera angles.

This film did not tell a story well, instead it indulged itself with men behaving like boys and a chance for an esteem actor such as Hugo to have fun and act like a fractured, naughty little boy.

The other actor seemed to play it very calm, but I felt his presence was not quite there.

I didn't know what this film was about, maybe I wasn't paying attention, maybe it wasn't clear enough or maybe I'm just not intelligent enough.

It seems to be a theme in Australia where directors like to mimic other styles of Aussie storytelling, it's the tedious and horse-flogging style of really dragging it out.

As they say boys will be boys.

"The Rooster" is an exquisitely crafted cinematic masterpiece that enthrals viewers with its exceptional performances, particularly the mesmerizing on-screen chemistry between the lead characters. Their interactions convey a depth of emotion that resonates throughout the film, making their journey feel authentic and relatable. The screenplay is artfully intertwined, exploring themes of love, trust, and vulnerability with nuance. Its director executes the vision precisely, utilising stunning cinematography that enhances the narrative. The film bravely and boldly ventures into the complexities of human fragility and apprehension, fearlessly laying bare the intricacies of our shared human experience, leaving a lasting impact on audiences.

I really wanted to like Rooster, but the sniveling, spineless, constantly crying cop made me wonder why he chose that job as opposed to, say, being a librarian or janitor at an elementary school.

I find it odd that people can simply push him around and he accepts it. Perhaps me, being an American, can't fathom that behavior because, in America, laying one hand on a cop can get you shoved face down into the concrete.

To be fair, I did like Hugo Weaving's mad character. I think he did a really good job. And I'm not faulting the actor who played the weak-willed cop, after all, that is what the script called for.

Do I recommend this as a good crime/mystery/thriller movie? Nope. It's really a buddy-type movie. If you're into that, Rooster fits the bill. If you're in the mood for a decent crime/mystery/thriller flick, look elsewhere.

This is so much more than a mystery. It is a beautifully crafted story about friendship and Hugo Weaving deserves every award going around for an absolutely authentic performance (Phoenix Raie is brilliant too). The background of the story is a man dealing with depression but it is not a sad film - without giving anything away it turns all your expectations on their head. The script is perfect and sparing - at its heart it is a film about male communication, how hard it is and how kindness and trust are so important. I have never seen anything like it and have not stopped thinking about it since I saw it two nights ago.

"The Rooster," starring Hugo Weaving and directed by Mark Winter, is a cinematic gem that I was lucky enough to see it at MIFF. Hugo Weaving's performance is exceptional. He effortlessly embodies the complex character, bringing depth and authenticity to every scene. Mark Winter's direction is a revelation. He masterfully navigates the narrative, creating an atmosphere of suspense and intrigue that keeps you on the edge of your seat. The pacing is spot-on, and Winter's ability to capture the essence of each moment is truly remarkable. His visual style adds an extra layer of depth to the film, making it a visual treat.

The Rooster's screenplay is equally impressive. It weaves a compelling story filled with unexpected twists and turns, making it impossible to predict the outcome. The dialogues are sharp and thought-provoking, adding layers of complexity to the characters and their motivations. The cinematography was also a real standout for me!

In dark, bleak but quietly classy Aussie drama "The Rooster" the troubled psyche of rural cop Phoenix Raei plunges when brain-damaged pal Rhys Mitchell kills himself out in the remote woods. Spiralling towards his own suicide in those same woods Raei meets reclusive hermit Hugo Weaving, and the two forge an unlikely relationship... with details emerging of Mitchell's death - and Weaving's disturbing past. Avoiding cliché in his debut, writer / director Mark Leonard Winter delivers more of a moody character-study (requiring excellent performances, that his leads deliver) than a gripping thriller, which won't be for all - but folk who for example liked "Pig", should love this one.

A tough one to review because you know it's not going to be a box office hit.

Watching it, though, I was thinking how long it had been since I'd seen a real character piece. You know, I mean something that wasn't just quirky or dark or subverting expectations. This was a character piece of old. This was staring into the abyss (this is a Wall Street reference). It's a tale for those who've walked with the black dog, been at society's fringe, and/or at some time been a pariah of the community - not a pillar.

I hate to say that it's probably a men's film because I'd surely not want to discourage the inquisitive minds of the fairer sex from having a look. Nor would I want to restrict the universal themes of the movie to a select audience.

I thoroughly enjoyed this film written and directed by Mark Leonard Winter. An amazing performance by Phoenix Raei and Hugo Weaving. The film touches on mental health issues as well as the loneliness that many people face. To me It inspired many emotions which change throughout the film. The policeman played by Phoenix. Raei was outstanding and highlighted the stresses and mental issues that some police officer may be subject too. Hugo Weaving's performance was brilliant. I loved the film setting and the cinematography. The sound editing was amazing with a special mention to the excellent work by the foley artist whose work was outstanding.

The Rooster isn't your typical whodunit. Sure, there's a dead body, a small-town cop named Dan (Phoenix Raei) grappling with grief, and a mysterious hermit, played by the ever-magnetic Hugo Weaving, who might hold the key. But writer-director Mark Leonard Winter transcends genre, crafting a poignant exploration of masculinity, loss, and the healing power of unlikely connections.

The Australian bush becomes a character itself. Lush greenery, seemingly chaotic growth, and isolation mirror the turmoil within Dan. The location heightens the emotional impact, reminding us of both the beauty and harshness of life.

The film rests heavily on the shoulders of its two central performances. Raei delivers a nuanced portrayal of a man unravelling. His vulnerability is palpable, his every twitch and furrowed brow conveying a depth of unspoken pain. Weaving, on the other hand, is electric. He disappears into the role of the gruff, unpredictable recluse, making you laugh one minute and squirm with unease the next. Their dynamic is a slow burn, a wary dance that eventually blossoms into grudging respect, then, something more profound.

Winter's script is a masterclass in minimalism. Dialogue is sparse, yet it crackles with tension and unspoken emotions. Think of early Clint Eastwood westerns, where a furrowed brow speaks volumes. The silences are pregnant with meaning, forcing us to confront the characters' inner demons alongside them.

A score that is sinister, rhythmic, and occasionally cacophonous is the perfect accompaniment to the multi-layered emotional journey that is being depicted on screen. Both the present and the past are expertly blended together, thanks to the flawless editing. The powerful emotional beats are able to ring true thanks to the slow and measured tempo.

The Rooster isn't without its minor shortcomings. There are a few plot points that feel slightly underdeveloped, leaving me wanting a touch more resolution. However, these errors are forgivable in the scheme of things as a whole.

The Rooster is the kind of movie that stays with you long after the final scene ends. It's a meditation on grief, the complexities of male bonding, and the possibility of redemption in the most unexpected places. This isn't a film for those seeking a popcorn-munching thrill ride. But for those who appreciate slow-burning character studies with knockout performances and stunning visuals, The Rooster is a must-see. It's a powerful, uncompromising piece of Australian filmmaking that deserves a place among the year's best. So, buckle up for a ride that's as raw as the isolated Australian bush itself, and prepare to have your heart unravelled and stitched back together, stronger than before.

I honestly don't get all the naysayers here. Yes, it's a slow movie. Yes, it's depressing. Yes, not much happens in the typical sense. None of that makes this a bad movie. I personally really liked it. I enjoyed watching this unlikely friendship happen at its own abnormal pace. I thought the actors were quite adept at making me believe this. And I also enjoy where this story went and where it ended. I recommend anyone who's OK with this type or cinema that's not meant to have you at the edge of your seat, but rather witness life happen, to give this film an honest try and watch it any way they can. I certainly hope you aren't disappointed.

Absolutely brilliant. Fabulous acting. Wonderful, heartfelt story about two men who find friendship in unusual circumstances. The reality of their situation, the way they grew together without being soapy. Truly a fabulous movie that will leave you with a desire for raw human truth, not all the masks we put on to pretend to be what we're not. Really worth watching, unless fast action movies are your thing.

It tried my patience at first. I can deal with long and silent sequences. That wasn't the problem. The piece they used in the soundtrack to make us enter the headspace of the character was getting on my nerves. It was distracting.

I know how this type of movie goes. It takes time to make us breathe in the atmosphere, get to have an impression of the characters and the situation at hand. It presents everything in a lot of silence at the risk of losing the audience in this age of instant gratification. Things become almost too real. One feels the atmospheric dullness and unpleasance to the core. It's a slow buildup for a slow-burn but if it hits, I know that it's going to hit harder than million dollar war movies that I stopped watching a long time ago for personal reasons.

So I had to tell myself to be patient. It was a hit for me.

The problem is... I am not sure this is for everyone. There are bitter laughs awaiting those that this one's going to hit as well as some tears, possibly.

Stay away if you're emotionally at a very hard place, now.

Stay away if you've been dissociating now.

Stay away unless you have a long time ahead of you that you feel you have to breathe through because you promised someone or "living humbly for a cause" or whatever.

You got me. Seeing the warnings here, I'm guessing you are able to figure out if you even want to watch this one or not.

A note for those who've already seen - a rich guy musing over his relationship with what he thinks he belongs with, without moving a finger for it, is not the guy you will want to cite a poem from, even if it's about loss, especially if you are going to make a movie about people life has rendered nameless.