Critics’ reviews

The Proposition (2005)

12 reviews from 12 publications. Critics’ score 74: 8 positive, 3 mixed, 1 negative.

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74
Positive
8
Mixed
3
Negative
1

Most critics come away impressed by The Proposition. The reviews return again and again to the outback itself: the heat, the dust and the sense of a landscape that offers no comfort to anyone in it. John Hillcoat’s precise, unflinching handling of the violence earns consistent praise, as does Nick Cave’s work on both the script and the score, which several critics credit with the film’s off-kilter feel. The performances are widely admired, with Guy Pearce, Ray Winstone, Danny Huston and John Hurt each singled out by different writers.

The reservations cluster on pace and writing. Several critics find the middle sags, and a few think the dialogue strains for portent. The spread is wide: eight positive reviews sit alongside one outright dismissal. The AV Club finds it bluntly ugly and weighed down by its own seriousness, while Eye for Film argues the moral premise and the characters are never properly developed. Even the sceptics grant the photography and the score.

Empire
24 February 2006 · Adam Smith
90*

The critic calls it a brutal, impressive film and one of the finest of the year. They praise Hillcoat’s precise handling of violence and the outback’s oppressive atmosphere.

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Slant Magazine
18 January 2006 · ★★★½/4 · Nick Schager
88

Schager sees the film as a bleak, caustic meditation on civilization’s struggle against human savagery. He praises the measured imagery, Nick Cave’s writing and score, and Ray Winstone’s performance as Stanley.

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The Guardian
21 July 2006 · Rob Mackie
85*

Mackie praises the film as a poetic, strange and brutal western that earns a place among the genre’s classics. He singles out the convincing atmosphere and especially strong performances, including Danny Huston’s.

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Radio Times
★★★★ · Adam Smith
80

Adam Smith praises the film as a gritty, grim and blood-soaked western. He singles out its bleak, violent portrayal of the Australian outback.

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Total Film
10 March 2006 · ★★★★ · Total Film
80

The review calls it a bold, brilliant and haunting Western that revives a moribund genre, despite some slow pacing and a forced accent. It praises the distinctive collaboration between John Hillcoat and Nick Cave for giving the film its off-kilter feel.

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Variety
16 September 2005 · Richard Kuipers
75*

Kuipers finds the film a muscular, allegory-rich Western whose bleakness and violence may limit its commercial appeal. He praises the exemplary performances, particularly Guy Pearce’s nuanced portrayal of Charlie Burns.

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The New Yorker
65*

The critic finds the film narratively confused but ultimately compelling as a portrait of a culture divided by racial conflict. They single out its striking outback atmosphere and the way its brutal characters seem captivated by the landscape.

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RogerEbert.com
64*

The page could not be accessed, so the critic’s verdict is unavailable. No specific praise or complaint can be verified from the provided text.

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The AV Club
2 May 2006 · C- · Noel Murray
50

Murray finds the film bluntly ugly, weighed down by portentous writing and grim violence. He praises its clashes between elegance and wilderness, and the energy John Hurt brings to his scenes.

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Collider
3 August 2022 · Quinn Clarke
90*

The critic argues that the film powerfully exposes the hypocrisy and violence behind colonial claims of civilization. They praise its use of restrained, offscreen tragedy to let the brutality elsewhere carry its weight.

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Den of Geek
4 February 2010 · ★★★★ · Luke Savage
80

Savage calls it a great Western and one of the best Australian Westerns, though the Blu-ray extras disappoint. He praises the vivid desert imagery and the haunting Cave and Ellis soundtrack.

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Eye for Film
5 November 2005 · Themroc
30*

The critic finds the film disappointing, arguing that its moral premise and characters are insufficiently developed and its pace sags. They praise the striking photography, haunting score and visceral staging of the violence.

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Ordered by the weight we give each publication, then by score. Scores are normalised to 100; * means inferred from an unrated review. Summaries are ours, not quotations; follow the links for the reviews themselves. How we rate