No Country for Old Men

2007

Crime / Drama

197
Rotten Tomatoes Critics - Certified Fresh 93%
Rotten Tomatoes Audience - Upright 86%
IMDb Rating 8.1

Synopsis


Uploaded By: hillelitz
Downloaded 95,898 times
June 25, 2012 at 1:18 am

Cast

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
1280*544
English
R
English
23.976 fps
2hr 2 min
P/S 28 / 97
1.60 GB
1920*816
English
R
English
23.976 fps
2hr 2 min
P/S 30 / 250

Movie Reviews

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.

Reviewed by motta80-2 10 / 10

Coens firing on all cylinders. Brilliant.

If this doesn't end my year in the top two films of the year then we are in for one hell of an awesome year of movies.

The new film from two of the best filmmakers working today No Country For Old Men shows the talents of the Coen Brothers on top form. After a couple of disappointments (Intolerable Cruelty had flashes of Coen genius but felt more of a Coen imitation than the real thing; Ladykillers had the odd funny moment but was the blandest film the brothers ever made, and there's just no excusing Marlon Wayans!) they knock this violent western drama out of the park.

More in the vein of their superb early mostly-serious efforts Blood Simple and Miller's Crossing (my personal favourite of the Coen back catalogue) No Country For Old Men is a slow-moving, character-driven masterpiece about uncompromising and uncompromised characters. It is very violent and bloody and not always for the squeamish.

Shot through with moments of humour these come, as in life, from real situations and observations so don't be fooled into thinking this will be the serious film with goofy-characters Coens of Fargo. No Country For Old Men is a tough, gritty story.

The unrelenting pace may take its time but you are gripped every moment. This is a thriller that genuinely thrills.

Javier Bardem gives the best performance of his career. And, yes, I have seen The Sea Inside and he in superb in that but here he is simply extraordinary. It is a portrayal of unrelenting evil, of true derangement, of a human being with no shreds of humanity that ranks at the very top of studied film psychopaths. And I say film not movie because this is not a cliched character. This is not a character whose lunacy you enjoy over popcorn. This is one of the most frightening performances ever committed to celluloid. I felt truly nervous of what was going to happen every time he walked on screen.

Josh Brolin essentially carries the bulk of the movie and he is excellent in a role that challenges him. I have never seen him perform to this level and if Bardem didn't steal the film you'd be talking about Brolin all the way home. As it is this gives him a showcase for his talents that should see him get a lot more attention.

Tommy Lee Jones is used sparingly but to great effect. Sounding more like Michael Parks than ever before his scenes pepper the movie with a wearied view on a world he doesn't really like or understand to great effect.

I did find Stephen Root a little distracting as i have never seen him in a serious role before and he just looks amusing but he is in very little.

Roger Deakins' cinematography is breathtaking as usual and the Coens' script is superbly crafted. There are moments, almost asides from the main plot, that would be superfluous in most scripts and excised in most studio films but which work perfectly in the overall context of the movie as only the Coens can achieve. One scene featuring Bardem in a gas station is up there with the best scenes i have ever seen on film.

I have not gone into the plot here because I saw this film having not read Cormac McCarthy novel and knowing little other than the basic log-line - a man out hunting comes upon a scene of dead bodies, guns, drugs and money on the Mexican border and comes to the attention of both those behind the scene and a local world-wearied sheriff - and i think that's the way to see this film.

Go in knowing as little as you can but knowing at least this: this is a serious, violent, slow-paced character piece from the Coens. This is not a Fargo. If you are squeamish don't see it. If you have a short-attention span don't see it. If you only love the Coens for their fantastic comedies like O Brother and Big Lebowski and the comedy/thriller Fargo don't see it. But if you want to see an intelligent, superbly acted, powerful, beautiful cinematic treat that will remind you of the true power of cinema see it, see it, see it. It's a masterpiece. Bravo Ethan and Joel.

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.

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