No Country For Old Men (new Tommy Lee Jones movie)

[Elano]

With the great TOMMY LEE JONES!
Javier Bardem is great

http://www.nocountryforoldmen-themovie.com/

Based on the acclaimed novel by Pulitzer Prize winner Cormac McCarthy. The time is our own, when rustlers have given way to drug- runners and small towns have become free-fire zones. The story begins when Llewelyn Moss (BROLIN) finds a pickup truck surrounded by a sentry of dead men. A load of heroin and two million dollars in cash are still in the back. When Moss takes the money, he sets off a chain reaction of catastrophic violence that not even the law - in the person of aging, disillusioned Sheriff Bell (JONES) - can contain. As Moss tries to evade his pursuers - in particular a mysterious mastermind who flips coins for human lives (BARDEM) - the film simultaneously strips down the American crime drama and broadens its concerns to encompass themes as ancient as the Bible and as bloodily contemporary as this morning’s headlines.

[NiCc_FrUm_ThA_nO]

I've been wanting to see this but theres no good rips out and i aint got no money to go to the theatre

[eS El Duque]

what happebn to the other thread? great movie.

[Elano]

If we allow that Cervantes kicked off the novel with "Don Quixote" in 1605, then prose fiction took the bit in its teeth and rode unchecked for nearly 300 years before some sourpusses began to insist that the novel was dead. Western films had nothing like that long a grace period. Within a year or two after the release of Edwin S. Porter's "The Great Train Robbery" in 1903 (not the first Western, but surely the first milestone in that elastic and irreplaceable genre), critics claimed that the Western was dead, killed while still in the delivery room by bitter Eastern winters and the quickly exhausted scenic possibilities of New Jersey and its environs. Fortunately, D. W. Griffith, Carl Laemmle, William Fox and a roving band of proto-moguls took a liking to a southern California village that had been established as a temperance community. The village was called Hollywood, and temperance was not what it would come to be known for.

At first, Westerns were produced anywhere an actor could mount a horse: many couldn't, but the infant studios made do. Around 1914, William S. Hart teamed up with Thomas Ince to make a swarm of Westerns. The desert town of Victorville, Calif., proved to be a near-ideal location, the anti-New Jersey of cheap moviemaking. For years, Victorville proudly housed the Roy Rogers-Dale Evans Museum. I have seen a few silent Westerns, but the one I'd most like to see is a 1911 release about Billy the Kid. Why? Because for a time after he killed his first man, Billy hung out in Mesilla, N.M., a village on the Rio Grande not far from where the river becomes not merely a life-giving waterway to poor Anglos and Hispanics who live along its banks, but also—on its long sweep southward to the gulf—an international border. And borders, as we are witnessing today, mean trouble.

North of El Paso, to the river's origins in Colorado, the Rio Grande produces plenty of water politics. But south of El Paso, as it flows through one of the emptiest regions of America, the Rio Grande is a war zone, and long has been. Crossing it from the north, smugglers bring bulldozers and other heavy equipment; crossing it from the south are parrots, macaws, other exotic pets—and dope.

To this bleakly beautiful country, also for a long time, have trekked filmmakers. I'd bet that a careful scholar (or a decent computer) could locate a hundred movies that use the Rio Grande or the lands that border it as a location. I'll probably never see the 1911 "Billy the Kid," but I have seen "Viva Villa!" (1934), the border movie that has everything: Wallace Beery, Fay Wray, a Ben Hecht script and the brilliant cinematographer James Wong Howe.

In the course of 30 seconds, one could make a personal-favorites list: "Touch of Evil," "Rio Grande," "Rio Bravo," "The Border," "Bandolero!," "Lone Star," "The Wild Bunch," "The Life and Times of Judge Roy Bean," "The Professionals." Howard Hawks's Western masterpiece may have been called "Red River," but the cattle John Wayne and Montgomery Clift plan to take to Missouri were gathered near the Rio Grande. I myself, with the help of legions, have created and seen filmed my "Lonesome Dove" tetralogy, the last segment of which, "Comanche Moon," debuts this December on CBS. All four segments use the Great River as background, and took a mere 23 years to film. Who said Westerns can't be made? They can, but patience helps.

The novelist Cormac McCarthy has been, for some time, the literary master of the border country. He took possession of it in 1985 with his somber "Blood Meridian," perhaps as violent a masterpiece as we have. He extended his reach with his "Border Trilogy," the first volume of which—"All the Pretty Horses"—brought him long-deserved acclaim. I don't think McCarthy's prose is overpraised, but I do think it's been weirdly praised: McCarthy is a realist. His prose exalts the particular, precisely and effectively. His larger concerns seem to be ethical, not oracular, and it would not be unfair to call him a soliloquist. His characters are seldom happy, but they survive—if they survive—largely by talking to themselves. What comes to them from the outside is trouble.

There is one major talent, and here are two more: Joel and Ethan Coen, filmmakers with perfect pitch for American accents. They shot their first feature, "Blood Simple," in Texas, and they know that Texas is hard. What they have recently learned is that the border is harder still. Then there's the dark Magus of the Texas Hill Country, land of rock and grit and unforgiveness: the actor Tommy Lee Jones. The Hill Country is hard—look at his face—but again, the border is harder. These four talents, complemented by the plangent, austere cinematography of Roger Deakins, convert McCarthy's "No Country for Old Men" into a darkly beautiful border Western that breaks all the rules of the genre and (though not evident in the early movements of this raw, tragic tone poem) of the European policier cheapies from which it distantly derives.

Could the same story happen in the Florida Keys, or maybe on the docks of Marseilles, with the pockmarked French legend Eddie Constantine (a native Angeleno) playing someone like Tommy Lee Jones's Sheriff Ed Tom Bell of Terrell County, Texas—itself a hole at the bottom of America that contains only two towns, with civilization represented by Interstate 10, 65 miles to the north? The answer is "No way." Man's fate attends us all, but we grapple with our own in particular places, and where people talk and behave in particular ways.

"No Country" (which opens on Nov. 9) happens in bleak, low-rent places, near a border on which extreme violence is the rule, not the exception. It's a border that divides two cultures, each with histories written in blood. I can see why filmmakers are attracted to its visuals—they are powerfully seductive—but I prefer to see them on the movie screen because I know, like Sheriff Ed Tom, that there are people on both sides of the river who, if they happen to like your socks, will kill you for them. It's not only no country for old men; it's no country for young or middle-aged men, either. It's also hard on dogs, and hardest of all on women. Some women turn mean, and still others settle into a long resignation before they're even out of their teens. Horses do a little better. Surviving, as opposed to prospering, is often just a matter of luck.

Llewelyn Moss, a young redneck, played with laconic inscrutability by Josh Brolin, is on an antelope hunt when he comes upon a drug deal gone bad. At the scene are many dead, and there's a satchel of money, which Llewelyn takes. Two tours in 'Nam convinces him he's as tough as anybody. He hurries home with the loot and is immediately rude to his young wife, Carla Jean. (This Western, very definitely, is about Bang Bang, not Kiss Kiss.) But Llewelyn knows that bad people will be coming, and at least takes the precaution of sending Carla Jean away, first to Odessa, and as the noose tightens, to El Paso.

Various bad men come, and there is lots of Bang Bang, but the only bad man who matters is a killer named Anton Chigurh. Audiences are accustomed to bad guys of the glamorized evil-genius stamp: Thomas Harris's Hannibal Lecter, or Patricia Cornwell's Jean-Baptiste Chandonne. Chigurh is not a genius, just a merciless killer, played with chilling restraint by the fine actor Javier Bardem. Chigurh kills methodically, whenever it serves him: twice he toys a little, offering his potential victim a coin toss. The confused owner of a convenience store, not realizing that he's betting his life, calls the flip correctly, and Chigurh walks away.

After about a dozen killings in or near Terrell County, one of Sheriff Ed Tom Bell's young deputies suggests that they're chasing a lunatic. Sheriff Ed Tom says no. He doubts the man's a lunatic, and it's here, as the audience is expecting the final Bang Bang, that McCarthy veers straight into ethics and the degradation of manners that occurs when a culture loses all moral poise. Sheriff Ed Tom on the low standards of behavior in the county he's spent his life defending: "It starts when you begin to overlook bad manners. Anytime you quit hearing 'Sir' and 'Ma'am,' the end is pretty much in sight."

It would be difficult to say it better, and the Coen brothers, at the top of their game, use it. If there's one word for what Sheriff Ed Tom Bell's face reflects during this movie, the word would be Disappointment. He had thought it would be better; he had thought he would be better: "It's a life's work to see yourself for what you are, and even then you might be wrong." Sheriff Ed Tom knows that Chigurh, "a true and living prophet of destruction," as he calls him, is out there still. The sheriff doesn't want to confront him, either. Would it be worth it for a county where people no longer say "Sir" and "Ma'am"?

As for Chigurh, he kills for convenience—it's the best way to get the job done. Unlike Hannibal Lecter, he doesn't kill for ego. He has no reason to brace Sheriff Ed Tom, though he has no fear of him, either. The film, not so much a thriller as a morality play, ends with a sort of equilibrium—as if the Lawman and the Killer both subscribe to that old cowboy maxim: "There ain't a horse that can't be rode, there ain't a man that can't be throw'd."

[Elano]

'No Country For Old Men': A favorite with the critics, the film picked up awards for best film of 2007, best director for the Coen brothers and best supporting actor for Javier Bardem (pictured) as a well-coiffed assassin.

Critics' Choice Awards
Broadcast Film Critics vote for the Coen brothers' western 'No Country for Old Men.'

Joel and Ethan Coen's western noir "No Country for Old Men" was the big winner Monday at the 13th annual Critics' Choice Awards at the Santa Monica Civic Auditorium.

The film adaptation of Cormac McCarthy's novel picked up awards for best film of 2007, best director for the Coen brothers and best supporting actor for Javier Bardem as a well-coiffed assassin.

The 200-plus member Broadcast Film Critics Assn., which represents TV, radio and online critics in the United States and Canada, also chose Daniel Day-Lewis as best actor for "There Will Be Blood." Day-Lewis' win comes two days after he was named best actor by the National Society of Film Critics. Jonny Greenwood also won as best composer for "Blood."

Veteran Julie Christie was chosen best actress for "Away From Here" and Amy Ryan was named best supporting actress for "Gone Baby Gone." Both Christie and Ryan have won the lion's share of the critics' awards to date.

"Juno" won best comedy and best writer for Diablo Cody. "Hairspray" also received two awards, for best acting ensemble and best young actress for newcomer Nikki Blonsky.

Best young actor went to Ahmad Khan Mahmoodzada for "The Kite Runner." "Enchanted" was named best family film, and "Ratatouille" took best animated feature honors.

Julian Schnabel's "The Diving Bell and the Butterfly," though not eligible for an Oscar nomination in the foreign film category, was named best foreign-language film. "Sicko," Michael Moore's examination of the healthcare industry, won the critics' choice for best documentary. Glen Hansard and Marketa Irglova received best song for "Falling Slowly" from "Once."

HBO's historical drama "Bury My Heart at Wounded Knee" received the best picture made-for-television award.

George Clooney presented the inaugural Joel Siegel Award to Don Cheadle. The award was created to honor those "in the film community whose work both on and off screen inspires and contributes to the good of humanity." The award was named after the BFCA member and longtime "Good Morning America" film critic who died of cancer last year.

D.L. Hughley hosted the event, which was broadcast on cable's VH1. The fate of the award ceremony had been up in the air because of the Writers Guild strike. But on Sunday, the Screen Actors Guild gave its members permission to attend and participate in the event.

In other award news, Roger Deakins received two nominations Monday in the feature film category for the 22nd annual American Society of Cinematographers Outstanding Achievement Awards. Deakins was nominated for his work on "The Assassination of Jesse James by the Coward Robert Ford" and on "No Country for Old Men."

Deakins is the first cinematographer to receive double nominations in this category. Previously nominated five times for the ASC award, Deakins won for "The Shawshank Redemption" and for the Coens' "The Man Who Wasn't There."

Vying with Deakins for the award are Robert Elswit for "There Will Be Blood," Janusz Kaminski for "The Diving Bell and the Butterfly" and Seamus McGarvey for "Atonement."

The winner will be announced Jan. 26 at the ASC gala at the Hollywood & Highland Grand Ballroom.

The Visual Effects Society also announced nominations Monday for its sixth annual awards. "I Am Legend," "Transformers," "The Golden Compass," "Pirates of the Caribbean: At World's End" and "Spider-Man 3" are nominated for outstanding visual effects in a visual effects-driven motion picture.

"Ratatouille," "Zodiac," "We Own the Night," "The Kite Runner" and "Blades of Glory" are in contention for outstanding supporting visual effects in a motion picture.

The Visual Effects Society will also present Steven Spielberg with a lifetime achievement award. The winners will be announced Feb. 10 at a ceremony at the Kodak Theatre Grand Ballroom.

[Javier]

The Oscar is gonna go to either No Country for Old Old Men or There Will Be Blood

[Elano]

The Oscar is gonna go to either No Country for Old Old Men or There Will Be Blood

Daniel Day-Lewis got more chances to win an oscar as best actor even if this time i think Javier Bardem's performance is outstanding,but Daniel Day-Lewis got a name on his back....and Javier could win in the category "actor in a supporting role". I don't know what to think,because Viggo Mortensen is like a GOD on Eastern Promises!
If we talk about Best Picture i think it's an hard battle between No country... and There will...

[Trauma-san]

I heard there will be blood isn't that great.  I haven't seen it yet, though.  I liked No Country but the ending sucked. 

[white Boy]

^ i need to watch it again, i was in a weird mood watching it so all the dialogue was over my head, so when it ended i was like, wait? other than that the movie it self was def great

[Javier]

The Oscar is gonna go to either No Country for Old Old Men or There Will Be Blood

Daniel Day-Lewis got more chances to win an oscar as best actor even if this time i think Javier Bardem's performance is outstanding,but Daniel Day-Lewis got a name on his back....and Javier could win in the category "actor in a supporting role". I don't know what to think,because Viggo Mortensen is like a GOD on Eastern Promises!
If we talk about Best Picture i think it's an hard battle between No country... and There will...

Best Actor will go to Daniel Day Lewis
Best Supporting Actor will go to Javier Bardem

Even though Viggo Mortensen was great, it's impossible for him to get votes over Daniel Day Lewis. 

[Javier]

What's wrong with the ending in No Country for Old Men?

[Trauma-san]

It sucked. 

[Javier]

Stick to the economic analysis of Nintendo kid

[Trauma-san]

Stick to the economic analysis of Nintendo kid

?  I'm not allowed to have an opinon?  Kid?  Bitch I was running shit when you were drinking kool-aid out of a sippy cup.

[Javier]

Stick to the economic analysis of Nintendo kid

?  I'm not allowed to have an opinon?  Kid?  Bitch I was running shit when you were drinking kool-aid out of a sippy cup.

Of course you can have your opinion just be elaborate about it little  boy.  It's obvious that I'm curious to why anyone would think it's not a good ending or whatever.