No Nation for Old Men (2007).

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This film is a magnificent summoning of time, spot, character, moral decisions, ... that conveys the pleasurable apprehension and anticipation expected of the class even as it ...
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No Country for Old Men (2007) The Coen Brothers

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No Country for Old Men (2007) Cast The Coen Brothers

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The Coen Brothers

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The Coen Brothers

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"No Country for Old Men" is as great a film as the Coen siblings, Joel and Ethan, have ever constructed, and they made "Fargo." It includes components of the thriller and the pursuit however is basically a character study, an examination of how its kin meet and manage a man so terrible, pitiless and merciless that there is just no grasping him. Chigurh is so shrewd, he is verging on entertaining in some cases. "He has his principles," says the abundance seeker, who knows about him. Consider another scene in which the exchange is in the same class as any you will hear this year. Chigurh enters a summary corner store amidst wild and starts to play a word diversion with the old man (Gene Jones) behind the money register, who turns out to be extremely apprehensive. It is clear they are discussing whether Chigurh will murder him. Chigurh has in no way, shape or form decided. Without clarifying why, he requests that the man call the flip of a coin. Listen to what they say, how they say it, how they infer the stakes. Listen to their planning. You need to praise the written work, which originates from the Coen siblings, out of McCarthy .— Roger Ebert The Coen Brothers

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This film is an astonishing inspiration of time, spot, character, moral decisions, corrupt surenesses, human instinct and destiny. It is additionally, in the photography by Roger Deakins, the altering by the Coens and the music via Carter Burwell, startlingly excellent, stark and desolate. As McCarthy does with the Judge, the bald exterminator in his "Blood Meridian" (Ridley Scott\'s next film), and as in his "Suttree," particularly in the scene where the riverbank collapses, the motion picture shows how miserable conventional human emotions are even with relentless foul play. The film likewise adores some of its characters, and feels sorry for them, and has an ear for exchange not as it is talked but rather as it is envisioned. A significant number of the scenes in "No Country for Old Men" are so faultlessly developed that you need them to just proceed, but then they make a passionate suction attracting you to the following scene. Another motion picture that made me feel that way was "Fargo." To make one such film is a marvel. Here is another .— Roger Ebert The Coen Brothers

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The Coens have frequently utilized merciless viciousness to make their focuses - that is just the same old thing new - however giving that savagery something to do in the administration of purportedly profound topics isn\'t the same as really getting your hands filthy. "No Country for Old Men" feels less like a breathing, thinking motion picture than an activity. That might be mostly on the grounds that it\'s an adjustment of a book by a contemporary writer who\'s typically discussed in quieted, aware, cap close by tones, as though he were a schoolmarm who\'d at last conveyed some sense and request to a rebellious town. I know individuals who worship McCarthy\'s writing, however I\'ve generally observed it to resemble particleboard shrewdly shaped to look like twisted and exhausted boards, less weatherbeaten than worked over. "No Country for Old Men" is the thing that appears to pass nowadays for an effective adjustment: It\'s real in the same shop-class-extend way .— Stephanie Zacharek in Salon The Coen Brothers

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No Country is a pitch-impeccable thriller that conveys the pleasurable apprehension and tension expected of the class even as it sends its traditions to the shredder. It is marvelously composed and shot, with splendid sound altering and maybe the subtlest score in film history, via Carter Burwell; a study could be composed just of its utilization of wind commotions. The bad dream nature of the story and the completely dry funniness of the exchange appear to be strangely reciprocal: by one means or another the Coens wait at the hangman\'s tree splitting jokes without losing sensitivity for the dead. "These young men seem, by all accounts, to be managerial," a delegate sheriff notes of some sharp looking cadavers at the scene of the slaughter .— Ben Walters ( Sight and Sound ) The Coen Brothers

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There are no illuminating models of masculinity here. Sheriff Bell is well meaning yet vexed and ending; Moss is bravely however shockingly reckless. (Both Moss and Chigurh make rehashed endeavors at the kind of improvisatory survivalism that was a staple of 1980s network shows like MacGyver and The A-Team , however Chigurh is prominently more refined.) In Bell\'s and Moss\' relational unions, however - with Bell\'s unequivocally reminiscent of the adoring, strong relationship amongst Marge and Norm in Fargo (1996) - the Coens by and by propose that human association trumps Hollywood-style man-alone chivalry. Simply think about the casual, warm air of the Moss trailer or the Bell estate with the landfill motels to whose ostentatious signage, unstable dividers and cruel enrichments the film pays such sharp and dooming consideration. Here as somewhere else, lodgings are the setting for a progression of huge and little passings, the vast majority of them pointless and idiotic. Sheriff Bell perceives the craziness at work in this world. "I snicker myself sometimes," he says. "Ain\'t a mess else you can do ."— Ben Walters ( Sight and Sound ) The Coen Brothers

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