No Country For Old Men

"You can't stop what's coming."

****

From the moment I heard that the Coen Brothers were making a new film, I was psyched. Once I caught my first glimpse of the trailer, I was more than sure it was going to be a good film. Then the critics weighed in with numerous ‘one of the best movies of the year’ quotes. Then came the Oscar buzz. So, when I sat down to watch No Country For Old Men, my expectations were unusually high. And while No Country may not win Best Picture this year (though it certainly does deserve honorable mention at the very least...and probably will be nominated), it is another fantastic piece of movie making from Joel and Ethan Coen, the men behind such classics as Fargo, Raising Arizona and (personal favourite) The Big Lebowski. These guys just don’t make movies like the other kids do…and as a fan of cinema, not only as a form of entertainment, but as art as well, the Coen’s are truly among the elite.

The film is fairly straightforward. Texan is out shooting deer…comes across a bloodbath in the middle of nowhere…finds some money that isn’t his…and is soon the subject of a manhunt by the people who’s money he’s now carrying. Josh Brolin is superb as the ‘ho hum’, jaded Texan who doesn’t quite realize just what he’s gotten himself into until its far too late, and Tommy Lee Jones is excellent as a worn out Sheriff who’s faith in the world around him is slowly disintegrating, but it is Javier Bardem who steals the film (and probably the Best Supporting Actor Oscar) for his bone chilling portrayal of a man-as-machine killer whos focus on the task is laser like. His look…his interaction with the random people he comes across on his travels…his ruthless efficiency…and his philosophy all add up to produce one of the most unique, cold, and totally believable movie villains in a long time.

Unlike their Oscar hit from over 10 years ago, No County For Old Men unfolds at an even slower, natural pace. The fantastic eerie violin soundtrack of Fargo is replaced by a chilling calm…as if a dark void were surrounding the events on screen...watching, with an evil grin. And unlike Fargo’s bright snow covered scenes, No Country is very dark…and many important scene’s take place at night, in shadow or half light. You could say the proverbial light at the end of the tunnel is very, very faint in this film...and fading.

I don’t want to say too much more, other than all the hype about this movie is warranted. A fine, fine piece of work.