No Country for Old Men


Crime / Drama


Uploaded By: hillelitz
Downloaded 149,795 times
June 25, 2012 at 1:18 am


Tommy Lee Jones as Ed Tom Bell
Javier Bardem as Anton Chigurh
Josh Brolin as Llewelyn Moss
Woody Harrelson as Carson Wells
720p 1080p
752.29 MB
23.976 fps
2hr 2 min
P/S 25 / 224
1.60 GB
23.976 fps
2hr 2 min
P/S 20 / 229

Movie Reviews

Reviewed by billreynolds 1 / 10

Possibly the most overrated movie ever made . . .

. . . by the most overrated filmmakers ever.

"No Country for Old Men" shares with other wildly overrated movies, like "Pulp Fiction" or "Collateral," a ludicrous setting in which criminals engage in wild shootouts and murder sprees lasting for days and days without any noticeable effort on the part of law enforcement to put a stop to it. NCFOM takes place in an alternate universe where an insane madman can travel across Texas murdering several people a day without the slightest hint of the FBI, DEA, U.S. Marshals, Texas Rangers, or any other authorities lifting a finger to stop him. The only cop who seems to be on his trail is an aging small town sheriff played by Tommy Lee Jones who doesn't actually try to catch him but just passing amiably through life making philosophical reflections on evil.

This movie has no interesting or sympathetic characters. Our supposed "hero" only gets in trouble because he commits an unbelievably stupid and selfish act -- stealing $2 million in cash from a drug deal gone wrong in which several people have already been murdered. Does he think no one will come after him? Then he compounds his idiocy by returning to the scene of the crime. Why should we care what happens to him after this beginning? He has what appears to be a very nice, likable girlfriend, whose life (along with his own) he endangers -- for what? Some blood/drug money that if the drug dealers don't kill him for taking, the cops will bust him for spending. Stupid. Besides which, the character has no backstory, no interesting qualities. He is a cipher.

The character of "Chigurh," over which all the critics are having such orgasms, might as well be an extraterrestrial, he bears so little relationship to actual human life. He appears to be in his late thirties -- killing people at a rate of two or three a day, as he does in this film, he must have murdered close to 10,000 in his adult life, without ever being apprehended. This man is almost on a par with Stalin, Hitler, Mao, and Pol Pot, except instead of killing people en masse as they did (using subordinates, secret police, and soldiers to do the dirty work), he appears to do every killing himself, many of them with some kind of oxygen tank (how clever, and how convenient it must be to lug around an oxygen tank to kill people with instead of, say, a handgun). And there is no FBI team on his tail, no worldwide manhunt to catch the biggest serial killer of all time. It's funny how many "professional assassins" there are in movies like this (and "Pulp Fiction" and "Collateral") and how few there seem to be in real life.

The plot of this movie is so unbelievably trite, cliched, and hackneyed that it is simply boring. Of course, a trite story can still make a great movie if it is well done. But the Coen brothers are far above actually putting in the effort to make their story work effectively on a nuts and bolts level. For instance, why bother to show the ultimate confrontation between the hero and villain? Why would the audience care about that? On some level, the Coen brothers must be laughing at all the sycophantic critics falling all over themselves to heap orgasmic praise on this joke of a movie. This film, and its ecstatic critical reception, represents the ultimate elevation of style over substance -- the appearance of meaning over actual meaning, quirkiness and moodiness for its own sake rather than in the service of a genuinely engaging story and characters.

Reviewed by Danusha_Goska Save Send Delete 1 / 10

Despicable Snuff Film with Pseudo-Intellectual Pretensions

"No Country for Old Men" is for the kind of film fan who remarks, "Gee, wasn't that murder a clever mise-en-scene?" and who asks, "What kind of lens do you think they used in that strangulation shot?" The skeleton of "No Country for Old Men" is a cheap, 78-minute, gun-monster-chase B movie. Javier Bardem plays Anton Chigurh, the monster. He is Frankenstein; he is Max Cady from "Cape Fear;" he is from your childhood nightmares. He may be death personified.

One of many completely implausible scenes: an arresting officer, defying any logic, turns his back on Chigurh. Chigurh, displaying the supple sinuosity of a Cirque du Soleil contortionist, or an orangutan, slips out of his handcuffs. This is done out of camera view, because for Bardem it would be impossible; thus the scene's implausibility. Chigurh then, in real time, strangles the young police officer to death on camera. This is an extended sequence. This is the payoff for "No Country for Old Men": watching one human being kill other human beings, in scene after scene after scene, using various weapons, including a captive bolt pistol usually used on livestock. Guess Chigurh couldn't get hold of a Texas chainsaw. This is a slasher flick for the pretentious.

Early on, there are well-done, if standard, chase scenes. A man outruns a car: not believable, but fun to watch. A pit bull chases this fleeing man down a whitewater river. The man reloads his gun at the very last moment (of course) and shoots the pit bull dead just as it is about to sink its teeth into the man. Later, in a hotel, a beeping transponder informs the killer where his prey hides. Your pulse may race and you may think that this is all leading up to something interesting. You will be disappointed.

Tommy Lee Jones, whose ear lobes appear to be metastasizing as he ages, wanders aimlessly through the film as Sheriff Ed Tom Bell, delivering cornpone, homespun, cowboy poet ruminations that are more or less opaque in meaning. No doubt the film's fans are even now feverishly compiling a companion volume that decodes Bell's dreams and conveys their depth.

Woody Harrelson, late the bartender of the TV sitcom "Cheers," shows up for a completely pointless half-hour role that yanks the viewer right out of the movie. "What is Woody Harrelson doing here?" Some years back, some bored English majors decided that conventional narrative structure was not intellectual enuf, and decided to play games with narrative. "No Country for Old Men" plays these sorts of games. The viewer is invited to invest time getting to know characters who are eliminated from the plot in ways that convey no meaning and are not moving. The narrative flow is truncated and yet the movie keeps going; viewers ask themselves why the movie is continuing -- sometimes out loud, even in a movie theater -- this is supposed to be a deep, intellectual experience. It is not. It is merely annoying.

Other than bratty English major head games, pretty much the entire substance of "No Country for Old Men" is a series of murders and tortures committed by Chigurh, who may symbolize your high school's worst bully – a bully so terrifying exactly because he targeted English majors. His victims are often courteous; their likability makes watching them be humiliated and then murdered an uncomfortable, and, given the film's structure, ultimately pointless exercise. Not only are the Coen Brothers torturing their characters, they also torment their ticket-buying audiences.

Chigurh's nice victims are often poor, rural, Southern, whites, the kind of people often not featured as positive, lead characters in Hollywood entertainments. They are often villains – witness films like "Deliverance." Here they are murder victims. Chigurh is associated with Mexicans, part of a rising "dismal tide," as one Anglo character puts it. No matter how you feel about immigration, you may find this association of Mexicans with a rising tide of evil to be offensive.

The film's boosters insist that the movie offers three deep and shocking lessons: life doesn't always follow a neat narrative structure; evil often triumphs; and the old days were more peaceful and, nowadays, things are getting really bad. In truth, everyone walking in to the theater already knows the first two "lessons." No one needs the Coen brothers to inform him that life doesn't always follow a neat narrative structure, or that evil often triumphs. We expect filmmakers, and all artists, to offer us a more substantial thesis. As for the third "lesson," that the old days were more peaceful and things are getting really bad today -- have the Coens, or Cormac McCarthy, heard of Attila the Hun, or any number of other less-than-peaceful and courteous personages from our common human past? One might well be dubious about "No Country"'s "lessons." Visit internet discussion boards devoted to this movie, and you will find fans asking, not "What is fate?" or "What is the role of a good man in a bad world?" but questions like, "If Hannibal Lector and Anton Chigurh were locked in a room, who would come out alive?" Given such reflections, one is safe in concluding that the appeal of this film is its emphasis on graphic violence, rather than on any more advanced intellectual or artistic merit.

Reviewed by littlegoldwoman 1 / 10

Wish I loved it (Spoilers)

I have a plea out on the message boards for someone to please explain this movie to me. I love movies and I am not one of those who insist on only being hand fed obvious characters and plots. I enjoy movies that make you think and use symbolism.

But I honestly did not understand this film. Im not saying its horrible but I will say I don't think it deserves the ratings it is getting. I personally rated it a 1 because I feel compelled to balance out the absurd over ratings it is getting.

What I saw was two men fighting over the same two million dollars. One who is somewhat good and obviously poor and the other who is this maniac psycho killer. Im not even sure its his money, how he knows about it or why he even wants it. None of that was clarified.

The good guy is running with the money the bad guy is chasing him the sheriff seems like he is supposed to be chasing them but doesn't really want to and would rather be some sort of hillbilly philosopher about the whole thing.

Then the good guy suddenly dies. The bad guy escapes death by the skin of his teeth AGAIN the money disappears and the sheriff retires but not becoming so philosophical that the whole movie just ends right there at his dinner table with him rambling on about some dreams he had.

Again I would love to figure out this movie.

I am a 40 year old movie buff Academy Award trivia expert I own over 700 movies I've been a member here for 6 years And I have a college degree.

Maybe I ate too many milk duds or something but it went right over my head.

If you are looking for a Donnie Darko, Eternal Sunshine of the Spotless Mind MUST SEE A SECOND OR THIRD TIME TO FULLY UNDERSTAND kind of movie then go for it!

If you think you are going to see a Titanic, The Green Mile or Silence Of the Lambs kind of movie where the plot unfolds at a normal pace and doesn't make you search for answers and meaning then don't go see this thing.

Again, not a bad movie. Great acting, cinematography, pace.... the works... just incredibly difficult to understand after the first half.

In fact the first half is very good, suspenseful.. second half does not fulfill. Leaves you hanging and wanting more.

OK Im done. Thanks for reading.

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