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No Country for Old Men
Miramax Films

No Country for Old Men reviews
Critic Score
Metascore: 91 Metascore out of 100
User Score  
7.0 out of 10
based on 37 reviews
Read critic reviews
How did we calculate this?
based on 567 votes
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MPAA RATING: R for strong graphic violence and some language

Starring Tommy Lee Jones, Javier Bardem, Josh Brolin, Woody Harrelson, and Kelly Macdonald

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 finds a pickup truck surrounded by a sentry of dead men. A load of heroin and 2 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, can contain. As Moss tries to evade his pursuers--in particular, a mysterious mastermind who flips coins for human lives--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 headline. (Miramax)


GENRE(S): Adventure  |  Crime  |  Drama  |  Suspense/Thriller  
WRITTEN BY: Ethan Coen
Joel Coen
 
DIRECTED BY: Ethan Coen
Joel Coen
 
RELEASE DATE: DVD: March 11, 2008 
Theatrical: November 9, 2007 
RUNNING TIME: 122 minutes, Color 
ORIGIN: USA 

What The Critics Said

All critic scores are converted to a 100-point scale. If a critic does not indicate a score, we assign a score based on the general impression given by the text of the review. Learn more...

100
Rolling Stone Peter Travers
Joel and Ethan Coen's adaptation of Cormac McCarthy's 2005 novel is an indisputably great movie, at this point the year's very best.
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100
Variety Todd McCarthy
A scorching blast of tense genre filmmaking shot through with rich veins of melancholy, down-home philosophy and dark, dark humor, No Country for Old Men reps a superior match of source material and filmmaking talent.
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100
Village Voice Scott Foundas
The most measured, classical film of their (Coen Brothers) 23-year career, and maybe the best.
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100
Chicago Sun-Times Roger Ebert
Many of the scenes in No Country for Old Men are so flawlessly constructed that you want them to simply continue, and yet they create an emotional suction drawing you to the next scene. Another movie that made me feel that way was "Fargo." To make one such film is a miracle. Here is another.
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100
Christian Science Monitor Peter Rainer
The movie is true to its own fierce vision and it's the better for it. I haven't seen a stronger or better American movie all year.
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100
The Onion (A.V. Club) Keith Phipps
The ultimate vision here is of a hard world in which civilization is the aberration, and the things we fear are always waiting for an excuse to make life normal again.
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100
Premiere Glenn Kenny
As stomach-churning a suspense exercise as the cinema has seen since the salad days of Hitchcock.
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100
The New York Times A.O. Scott
No Country for Old Men is purgatory for the squeamish and the easily spooked. For formalists -- those moviegoers sent into raptures by tight editing, nimble camera work and faultless sound design -- it’s pure heaven.
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100
Wall Street Journal Joe Morgenstern
If watching movie violence is cathartic, then this film amounts to heavy therapy. It's much more than that, however. This is the best film the Coen brothers have done since their glory days of "Fargo" and "The Big Lebowski," maybe the best they've done, period.
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100
San Francisco Chronicle Mick LaSalle
Feels positively Greek in its magnitude, a lament about fate, age, time and life.
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100
Boston Globe Ty Burr
The Coens also understand the stark immediacy of this tale, and they visualize it with brilliantly judged details.
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100
Los Angeles Times Kenneth Turan
An intense, nihilistic thriller as well as a model of implacable storytelling, this is a film you can't stop watching even though you very much wish you could. That's because No Country escorts you through a world so pitilessly bleak, "you put your soul at hazard," as one character says, to be part of it.
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100
The Globe and Mail (Toronto) Rick Groen
The Coen brothers adaptation is impeccable, a perfect mirror of McCarthy's prose – sparse, suspenseful, probing and profoundly disturbing.
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100
New York Post Lou Lumenick
The first movie I've seen in a very long while that deserves to be called a masterpiece. It's such a stunning achievement in storytelling.
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100
Film Threat Don R. Lewis
A return to form for the Coen Brothers and, while I feel the film will annoy and frustrate the masses, it will be looked back upon as one of the truly great movies of the first part of this new decade.
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100
Time Richard Schickel
Caught in the movie's grip, you are simply hypnotized by the damned thing.
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100
Miami Herald Rene Rodriguez
A model of pitch and modulation and craft. For two hours, the Coens hold you in their grip so tightly that for long stretches it feels a little hard to breathe.
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100
Baltimore Sun Michael Sragow
No Country for Old Men is about the kind of amoral madness that can sweep across a country and redefine a landscape. It's so admirably lean and sinewy that it deserves not merely a rave review but a Johnny Cash song about matter-of-fact killings in shady hotels and sun-scoured landscapes.
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100
Seattle Post-Intelligencer Sean Axmaker
Strong, evocative storytelling pared to the bone and braced with a sensibility perfectly matched to the material.
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100
Empire Ian Nathan
Violent, poetic, gripping, thrilling and blackly funny: that’ll be the Coens doing what they do best then. Now with added humanity.
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91
Portland Oregonian Shawn Levy
In the main this is a muscular, exact and thrillingly cool movie.
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91
Entertainment Weekly Lisa Schwarzbaum
The breath of cinematic life, though, the sensibility, the energy, belong to Joel and Ethan Coen, and this is their stirring success.
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90
Salon.com Andrew O'Hehir
It's the most ambitious and impressive Coen film in at least a decade, featuring the flat, sun-blasted landscapes of west Texas -- spectacularly shot by cinematographer Roger Deakins -- and an eerily memorable performance by Javier Bardem, in a Ringo Starr haircut.
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90
New York Magazine David Edelstein
It’s a near masterpiece.
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89
Austin Chronicle Marjorie Baumgarten
The adaptation by Joel and Ethan Coen (both co-credited as writer and director) of McCarthy's as-if-written-for-the-screen No Country for Old Men becomes a marvelous meld of narrative faithfulness and pre-established sensibilities.
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88
New York Daily News Jack Mathews
If the structure is a tad out of whack, "No Country" does not lack for action or suspense. Some of the scenes of Chigurh's stalking of Moss are nearly unbearably tense. Bring your worry beads.
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88
Philadelphia Inquirer Steven Rea
An eerily quiet, bracingly bloody, and expertly laid-out adaptation of the Cormac McCarthy novel.
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88
USA Today Claudia Puig
The Coen brothers have fashioned a wry and riveting hybrid of a drama, Western, crime thriller and action film that is as powerful and thought-provoking as it is genre-bending.
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88
Chicago Tribune Michael Phillips
As pure craftsmanship, No Country for Old Men is as good as we’ve ever gotten from Joel and Ethan Coen. Only “Fargo” is more satisfying (it’s also a comedy, which this one isn’t).
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88
ReelViews James Berardinelli
It’s mostly an off-kilter road trip that accomplishes what the Coens do best - seamlessly merging drama, violence, and quirky humor into a whole.
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80
The Hollywood Reporter Ray Bennett
The Coens' typically superior filmmaking sustains the electrifying mood for most of the picture, but they are undone by being too faithful to the source novel by Cormac McCarthy.
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75
TV Guide Maitland McDonagh
It's a hugely entertaining slice of sunbaked Gothic.
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75
Charlotte Observer Lawrence Toppman
The Coen brothers have never really accepted the idea that a movie has to have a plot. Offbeat characters, sure. Oblique dialogue that sounds meaningful and occasionally is so, absolutely. Eye-catching cinematography and a subtle, mood-reinforcing soundtrack, no question. Irony layered on thickly as cheese in good lasagna, yes. But a narrative that makes sense from end to end? Well, one doesn't have room for everything.
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70
Slate Dana Stevens
Maybe part of the problem is that black comedy is a tough genre in which to create a masterpiece.
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70
The New Yorker Anthony Lane
Beyond question a return to the dark, simmering days of their best work, in “Blood Simple” and “Miller’s Crossing.”
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50
Washington Post Stephen Hunter
I appreciate No Country for Old Men for the skill in the film craft. I understand No Country for Old Men for its penetrating disquisition on narrative conventions and its heroic will in subverting them. I admire No Country for Old Men for the way it tightens its grip as it progresses, taking us deeper and deeper into a hellish world. I just don't like it very much.
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30
Chicago Reader Jonathan Rosenbaum
A very well-made genre exercise, but I can’t understand why it’s been accorded so much importance, unless it’s because it strokes some ideological impulse.
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What Our Users Said

Vote Now!The average user rating for this movie is 7.0 (out of 10) based on 567 User Votes
Note: User votes are NOT included in the Metascore calculation.

Anon Ny'Mous gave it a10:
Great film, in spite of what the others say. Maybe the way it breaks away from the norm after the first helps aid the point? Anyway how can a film with a villain such as that be unentertaining?

Tony B. gave it a10:
Great film. Acting was incredible the story line was superb. I hate people commenting on the ending, the ending was extremly well done, it was how the story was supposed to end.

anonymous anonymous gave it a10:
This is a brilliant piece of cinematography and storytelling, I thoroughly enjoyed it.

Devon C. gave it a9:
No Country For Old Men Movie Review: In a nutshell. No Country For Old Men is definitely a hit classic, and is the Coen brother’s Best Motion Picture. With a mix of seriousness of Ethan Coen’s desire, and a blend of Dark humor done right of Joel Coen’s desire. It is a brilliantly adapted and written script by a fascinating bloody wonder of a novel. Javier Bardem’s spectacular performance astoundingly deserved his academy award. His role of a mass killer carrying an unusual weapon around, and an oxygen tank for his assistance makes him a gritty-looking madman. He goes around killing everybody, with no feelings or soul and heart for anybody in the world. His wry performance makes this film feel uneasy and uncomfortable, it doesn’t settle in that easy. But as the tagline says: There are no clean getaways. But it forms with the perfect amount of build-up for all characters for an engaging plot. But there are a bit of a few flaws in this amazing picture. One is that Llwelyn Moss’ character has enough screen time, and is a highly likable character, but with him being player 1 in the story. Where is the film’s focus? At first its Llwelyn’s character dancing around from motel to motel, and suddenly (SPOILERS---SPOILERS) he just gets killed off, having just Tom Bell witness things on his part. And then it goes right to Tom Bell, the last 20 minutes is based on his character and how he feels overmatched. Also it shows an unresolved piece of Anton Chigurh just walking away with a fucking bone sticking out of his arm. And does he kill the girl? It shows him looking at his shoes for blood as he always does. But do Joel and Ethan Coen just expect us to take the impression that the girl’s dead. Because I didn’t know that until a smart-thinker told me when I walked out of the theatre. Yet it goes from player 1 (Llwelyn), then to player 2 (Tom Bell), so the real question is if it is either Llwelyn’s story, or Tom Bell’s story? Putting both in the same place just looses the film’s focus in who’s player 1. It takes turns with character screen time, and the development is truly as good as it gets. Just the focus on a guy who found a stash of money which goes to an officer who feels overmatched just confuses us in who’s story it really is and who it belongs to. And the last 20 minutes was kind of slow, it was slow in a depressed way, which just ruins the film’s pace. But it keeps the same brilliant and engagingly powerful entertainment the first hour and a half had. I found the ending a bit strange and wrapped up not as neat as you expect. Having the Coen brothers bring something new to the big screen, with unpredictably shows their confidence boost. They keep it original, with loose ends, which give us the test of hard thinking, but boy, despite all of its flaws, it is a bloody wonder, an amazing masterpiece. It definitely deserved the best picture academy award, and thank god that craptacular Atonement did not win it. And gratefully enough, here we have the Coen’s best and obviously most achieving and accomplishing motion picture they have ever made. Impressed.

Linda W. gave it a1:
The ending ruined the whole movie.

Michelle gave it a2:
The movie had potential right up until you popped it into the dvd player. the story sounded good, execution sucked. You are left wondering why about too many things...Don't get me wrong I like movies that make you think and make you wonder but you need SOME details to why or else it's just pointless killing and it was so slow. I did not develop any feelings for any characters in the film so I really didn't care if they lived or died. And since when does a good movie let the bad guy get away and as much as I love Tommy Lee, I can't believe he would play a character that can be classified only as a quitter. Awful waste of 2 hours! The only reason I didn't give it a 0 is because, again, it had potential and it had Tommy Lee Jones in it.

Aj gave it a10:
Very intense thriller that kept me on the edge of my seat the whole time. BIG LEBOWSKI baby.

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