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No Country for Old Men (2007)

Posted By: Someonelse
No Country for Old Men (2007)

No Country for Old Men (2007)
1080p BluRay Rip | MKV | 1920 x 816 | x264 @ 10340 Kbps | 02:02:10 | 10,42 Gb
Audio: English DTS 5.1 @ 1510 Kbps | Subs: English, Spanish, Swedish
Genre: Crime, Thriller, Drama | Won 4 Oscars + 94 wins & 46 nominations | USA

In rural Texas, welder and hunter Llewelyn Moss discovers the remains of several drug runners who have all killed each other in an exchange gone violently wrong. Rather than report the discovery to the police, Moss decides to simply take the two million dollars present for himself. This puts the psychopathic killer, Anton Chigurh, on his trail as he dispassionately murders nearly every rival, bystander and even employer in his pursuit of his quarry and the money. As Moss desperately attempts to keep one step ahead, the blood from this hunt begins to flow behind him with relentlessly growing intensity as Chigurh closes in. Meanwhile, the laconic Sherrif Ed Tom Bell blithely oversees the investigation even as he struggles to face the sheer enormity of the crimes he is attempting to thwart.

IMDB 8.3/10 (222,507 votes) Top 250 #121

‘No Country for Old Men’ is a grim and unsettling film that curiously makes its viewer beg for more of the same. In adapting Cormac McCarthy’s 2005 novel, sibling writer-directors Joel and Ethan Coen, the team behind ‘Fargo’ and ‘O Brother Where Art Thou?,' keep their quirky humor in check and stare unflinchingly at the worst humanity has to offer. As a result, the duo may have created their most accomplished and compelling movie to date.

The Coens have always penned lively dialogue (“We felt the institution no longer had anything to offer us,” says John Goodman, justifying his prison break in “Raising Arizona”) and demonstrated visual panache (the wood chipper scene in “Fargo” is hard to forget).

No Country for Old Men (2007)

But the characters in “No Country for Old Men,” despite being larger than life, seem more real and believable. It’s much easier to get worked up over their outcomes than wondering how the broad characters in “Intolerable Cruelty” might fare.

It also doesn’t hurt that the new film is loaded with several first-rate performers who can make potentially outlandish situations seem real. Tommy Lee Jones stars as Ed Tom Bell, a grizzled, third-generation lawman who has stumbled upon a grizzly case that makes anything he’s handled before seem tame.

No Country for Old Men (2007)

An antelope hunter named Llewellyn Moss (Josh Brolin) discovers the aftermath of a drug deal that turned into a massacre. The only survivor of the class is a mortally-wounded man who’s only able to beg for water, which Llewellyn doesn’t have.

In what seems like a major stroke of luck, he discovers a case of money that no one at the site of the debacle has lived to collect. He takes it home to his trailer park, bewildering his wife (Scottish actress Kelly Macdonald).

The seemingly untraceable fortune actually has several people eager to claim it. A flashy hired gun named Carson Wells (Woody Harrelson) has the dual task of retrieving the money and finding another fellow who’s after it.

No Country for Old Men (2007)

Anton Chigurh (Javier Bardem, obliterating his Spanish accent) may have been hired initially to find the cash, but he quickly leaves a trail of blood as long as the Nile. With his drooping bangs, Chigurh looks almost comical from a distance. His cold, brown eyes, however, betray how dangerous he can be. He murders anyone who gets in his way. And he often seems to dispatch people simply for pleasure.

He’s also as inventive as he is arbitrarily cruel. He can turn air tanks into a both a weapon and a door opener. Think of his as a Satanic McGuyver. Barden also projects the right blend of menace and buffoonery that makes each of Chigurh’s attacks seem appropriately shocking.

As Chigurh’s quarry, Brolin is appropriately compelling. He may have been dumb to get himself in his current predicament, but he’s resourceful enough to survive longer than anyone else who crosses Chigurh’s path. Brolin has a likable sad sack quality to makes you wish he could get out of his grim situation.

No Country for Old Men (2007)

Following all of the sordid events is Jones’ Earl Tom. The sheriff can read a crime scene with astonish accuracy, but correctly worries that it will take a Herculean effort to prevent a greater bloodbath. Jones demonstrates a fascinating vulnerability that belies his tough guy image and manages to make a character who functions primarily as a narrator engaging on his own terms.

In addition to three terrific lead performances, the Coens manage to deliver some of their usual wordplay. When asked how dangerous Chigurh is, Wells simply replies, “Compared to what? The bubonic plague?” And thanks to McCarthy’s plotline, they also have some genuinely surprising plot twists. The film constantly throws off a viewer’s expectations.

“No Country for Old Men” is sometimes a difficult film to watch because it’s unflinchingly grim and often leaves viewers to reach their own decisions about what happened.

But the film lingers in the brain long after the credits start rolling and proves the Coen’s can examine the frailty of the human heart as skillfully as they can manipulate words and images.
Lybarger, eFilmCritic
No Country for Old Men (2007)

Llewelyn Moss: Can’t help but compare yourself to the ol’ timers. Can’t help but wonder how’d they do in these times.

The Coen brothers have been making movies for over 20 years now. NO COUNTRY FOR OLD MEN is their twelfth feature together. While they were once considered princely collaborators held at the highest esteem by film enthusiasts the world over, they have recently been the victims of their own identity crisis. Caught between their signature exploration of all things quirky and abnormal found in the parts of America thought to be forgotten and the demanding pressures of delivering bankable Hollywood fare, the Coen’s finished by delivering sub-par work that tarnished their lustrous reputation. The film enthusiasts thought they might have lost great talents to Hollywood while Hollywood wasn’t even sure they wanted them. What were these "aging" filmmakers to do? They could have polished off another Tom Hanks picture and crossed their fingers. They could have appealed to their fans and told another tale of the idiosyncrasies of those living in the middle of nowhere. They could have tried appeasing both parties by attempting THE BIG LEBOWSKI 2. Instead, they did none of these things. No, instead, the Coen brothers crafted a film that is unlike any film they have ever made and is also perhaps the best film they’ve ever made.

No Country for Old Men (2007)

Translating Cormac McCarthy’s novel about the relationship between the hunter and the hunted to the screen may be smoothest decision these boys have made for years. Not only does it allow for the brothers to explore the grim sides of characters consumed by money and an unnerving peace derived from killing, but NO COUNTRY FOR OLD MEN also leaves the door open for an interpretive commentary on the Coen’s career itself. Allow me to explain by painting a picture from the film. Llewellyn Moss (Josh Brolin) aims his rifle at an unsuspecting animal grazing alongside the herd. He is right now in charge, in control, the hunter. He fires and misses, thus beginning his steady descent into ruin. He moves toward the spot where his prey once stood only to find the site of a drug deal massacre. Here, he innocently stumbles upon an enormous amount of money. He picks it up and goes without realizing the hell that is about to be brought upon him. He inadvertently becomes the hunted. He spends the remainder of the film calculating and executing different attempts to regain the superior position he once held. The comparisons are subtle and come about naturally rather than existing as the initial basis for the film to grow out of, reinforcing their genuine nature. I could explain my logic behind this analogy but that would be very un-Coen like.

No Country for Old Men (2007)

Another consistency throughout the Coen Brothers’ careers is the elevated caliber of talent they attract to their diverse projects. With their writing at top of its game, performances by Brolin, Javier Bardem and Tommy Lee Jones are pushed to the heights of their potential. Moss is a quiet man, focused and constantly thinking about what his next play will be. He has no time for ego, only function, and though most of his motivation is to avoid drawing attention to himself, Brolin’s interpretation cannot help but capture our notice. For the second time this year (in conjunction with his slimy crooked cop turn in AMERICAN GANGSTER), Brolin reinvigorates his skills by inhabiting Moss fully as an instinctual and reactionary being. While Jones is also impressive as a police officer resigned to following the action without any possibility of curbing the outcome, it is Bardem’s performance as Anton Chigurh that will leave audiences with a haunting chill after experiencing it. His portrayal of a psychopathic hunter is both disturbing and riveting. This is a man who enjoys torturing his victims mentally by asking them questions meant to expose the inconsistencies in the way they live their lives before ushering them out of this world. He abides by some form of ethical code that only makes sense in his own mind and fully justifies his killings. His adherence to this code is what sends him to an internal state of ecstasy as he chokes a man and stares intently at the ceiling. The hunter is always frightening but Bardem is worse; he’s unsettling.

No Country for Old Men (2007)

NO COUNTRY FOR OLD MEN is entirely disconcerting but is somehow still a tranquil experience. There is a normality amidst the unrest that thrives in the plain, natural manner in which the story unfolds. The chase is constantly surprising without ever seeming forced. Each move made makes perfect sense but is not seen coming. On this level, even their formal execution of this film speaks to the trajectory of their career. Who knew that leaving quirk behind for harrowing humour and a story that serves itself instead of as a platform for character would invigorate the Coen’s method and assert their place as two of the greatest American filmmakers operating in a country thought not to have any place for the them? I like to think they did. In doing so, they have also made a movie for a sharp adult audience in a country bent on catering to all things youthful and disposable.
Black Sheep, Black Sheep Reviews
No Country for Old Men (2007)

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