David: The most impressed I’ve ever been by a cinematic vision of what lays ahead. I think breathtaking is the most accurate descriptor, scene after every single last brilliant scene.
Taos: The ultra long shots play well for the pulsing plot driving the toward a tense resolution.
David: I’m still counting the layers. Genius Nic Cage bow. It destroys you, then recreates you.
Taos: Reality is convoluted in a film about the screenwriter adapting a book into a film which is the movie we are watching. It is like an infinite mirror, looking into itself and reflecting what it sees.
Taos: Who would have thought James Bond could be rebooted into the greatest entry in the long series? That opening black and white cinematic really sets the tone.
David: Violates a cardinal rule by playing drawn out in the middle. That aspect does improve substantially on a second run. Also, the final stretch occurs suspect in spots, but I’m forgiving. The leads anchor this beautifully. And dammit, I’m in love with Eva Green (however unoriginal that may be, at least from my stir of film-geek flock).
David: Cinema full of life. Of this past decade, perhaps one of the movies most misunderstood by its detractors. (Oh, and hey! Don’t look now, but maybe Kristen Stewart is half-way capable!)
Taos: Sure he was an idiot, but it was his optimism that was endearing.
David: Just as many onlookers called the genre’s time of death, the Western has slowly since began to mount a resurgence here in recent years. Many have underwhelmed or missed the mark altogether. But ones like The Proposition offer welcome new voices while sorting out still relevant themes in a now fashionably archaic world.
Taos: Gritty and ultraviolent. Follows the line of westerns established by Unforgiven. Again, Nick Cave on music and this time screenwriting.