A near-perfect vivisection of the mythologizing of the West. Deakins' cinematography is breathtaking: both romantic and scalpel-edged (the vignetting gives many of the images the iconic appearance of period daguerreotypes, and the torchlight, night-time train robbery is extraordinary). The cold beauty of the cinematography is complimented by performances that burrow into the typography of the West. Garret Dillahunt is particularly haunting as he puts up a desperate front to circumvent Pitt's harrowing paranoia. Masterful, and quite worthy of its comparisons to early Terence Malick.
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