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Author Topic: No Country For Old Men  (Read 21336 times)

Emily

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Re: No Country For Old Men
« Reply #50 on: 24 Feb 2008, 15:36 »

I didn't sleep well for a week after watching this movie. Cloverfield, on the other hand, sent me straight to the land of Nod.
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Liz

Re: No Country For Old Men
« Reply #51 on: 24 Feb 2008, 20:48 »

NEWS FLASH!

It just won Best Picture and Best Director, also Best Adapted Screenplay earlier this evening. Javier Bardem got Best Supporting Actor.

Hooray!
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Re: No Country For Old Men
« Reply #52 on: 24 Feb 2008, 20:51 »

I'm so glad this movie got the reward it deserves--great movie! Certainly the best I saw all year, and I'm glad it was recognized as such.
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Re: No Country For Old Men
« Reply #53 on: 24 Feb 2008, 21:06 »

Wooooo!
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Re: No Country For Old Men
« Reply #54 on: 25 Feb 2008, 02:22 »

Good stuff.

It was a good Oscars this year. I like Tilda Swinton a lot too and also Glen Hasard from the Frames won Best Song.
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Re: No Country For Old Men
« Reply #55 on: 25 Feb 2008, 08:25 »

Tommy, do I take this to mean you actually got around to seeing this film?
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Liz

Re: No Country For Old Men
« Reply #56 on: 25 Feb 2008, 08:30 »

I watched it tonight.

On one hand, the best film of the year.

On the other, not in the top five films the Coens have made.
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monkandmovies13

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Re: No Country For Old Men
« Reply #57 on: 25 Feb 2008, 11:45 »

Guys, I was really not impressed with this movie. There were things I liked about it, like Javier Bardem's performance and that amazing scene in the motel when he finds the tracker in the bundle of money. That motel scene was really tense and creepy, but I wasn't grabbed by much else. It was a well made movie, but I thought There Will Be Blood was far better
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Re: No Country For Old Men
« Reply #58 on: 25 Feb 2008, 18:22 »

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Re: No Country For Old Men
« Reply #59 on: 25 Feb 2008, 19:07 »

Guys, I was really not impressed with this movie. There were things I liked about it, like Javier Bardem's performance and that amazing scene in the motel when he finds the tracker in the bundle of money. That motel scene was really tense and creepy, but I wasn't grabbed by much else. It was a well made movie, but I thought There Will Be Blood was far better

There Will Be Blood is, for all intents and purposes, a character study. An amazing one, but still. It lacks much of a compelling plot. No Country was a better all around movie, even though DDL's performance in Blood was easily the year's best.
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Re: No Country For Old Men
« Reply #60 on: 28 Feb 2008, 00:42 »

Scorsese getting best director and picture last year, and the Coens getting it this year?  Is it just me, or are the Oscars seriously improving?
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Re: No Country For Old Men
« Reply #61 on: 28 Feb 2008, 16:16 »

Well, you can only go upwards from the travesty that is Crash.
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Re: No Country For Old Men
« Reply #62 on: 28 Feb 2008, 21:56 »

I couldn't even listen to crash because the music was threatening to destroy my ears half of the time. Some people think There Will Be Blood had an earsplitting soundtrack. This one was louder than any of the noises in the film, including the acting at points.

Also, I personally liked Javier Bardem's performance better than Daniel Day Lewis's, but that's probably because I liked the film better in general. There is no doubt that Daniel Day Lewis deserved the award though, because he did pull off the best acting job last year.
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Re: No Country For Old Men
« Reply #63 on: 28 Feb 2008, 23:45 »

Bardem won Best Supporting Actor though.

This is the Academy, having its cake and eating it as well.
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Re: No Country For Old Men
« Reply #64 on: 29 Feb 2008, 06:52 »

Bah, humbug. Tommy Lee Jones's performance in No Country was better than either Bardem's or Day-Lewis's.

Not that those two performances weren't great, but Jones's was just beautiful. The performance of an actor who's been around long enough to not have to prove anything.
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Re: No Country For Old Men
« Reply #65 on: 29 Feb 2008, 08:18 »

I wonder why he was nominated for Elah over No Country?

I mean, I assume they were the same calibre of performance. Shit, dude brought chops to Space Cowboys.
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Re: No Country For Old Men
« Reply #66 on: 29 Feb 2008, 15:53 »

Producers and studios tend to put all their eggs in one basket when it comes to the Oscars. A specific performance gets targeted as the likeliest winner, then pushed to the Academy's voters, and pushed hard. The level of manipulation of the Oscars, or at least attempted manipulation, is by all reports incredibly high. And let's not forget that the studio behind No Country is Miramax, which had the worst reputation of all when it came to trying to influence and curry favour with Academy voters (at least when the Weinsteins were running the company).

Basically, what I'm saying is the Miramax will have decided to focus all their efforts on getting Bardem nominated because they believed he had a better chance of winning - which he probably did, seeing as how the Academy generally has no time for subtlety or nuance, the two qualities which more than any others define Jones's performance.
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Re: No Country For Old Men
« Reply #67 on: 29 Feb 2008, 18:09 »

I watched it tonight.

On one hand, the best film of the year.

On the other, not in the top five films the Coens have made.
Hmm. I dunno 'bout that.
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Re: No Country For Old Men
« Reply #68 on: 01 Mar 2008, 04:53 »

Wow, I'm convinced.

Good work.
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Re: No Country For Old Men
« Reply #69 on: 01 Mar 2008, 10:47 »

The reason I think it's one of their best is because as much as this is a Coen Bros. film, it's also a film that breaks some of their own motifs and explores them in scenes that are not just minor turns on their own style but compelling scenes in their own right.

Quote from: Roger Ebert
If there is a favorite image in the movies by the Coen brothers, it's of crass, venal men behind desks, who possess power the heroes envy. Maybe that's because, like all filmmakers, the Coens have spent a lot of time on the carpet, pitching projects to executives. In "Blood Simple," the guy behind the desk was M. Emmet Walsh, as a scheming private detective. In "Raising Arizona," it was Trey Wilson's furniture czar. In "Miller's Crossing," it was Albert Finney, as a mob boss. In "Barton Fink," it is Michael Lerner, as the head of a Hollywood studio. All of these men are vulgar, smoke cigars, and view their supplicants with contempt.

No Country, suddenly and violently, reverses this. The man behind the desk is powerless. Never mind it's a great scene in and of itself - it takes this notion they've been exploring and casts it into new, ambiguous light.

It also explores the aftermath of violence in greater detail. I guess that's a result of having three characters separately cross a particular bloodbath, right?
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Re: No Country For Old Men
« Reply #70 on: 02 Mar 2008, 11:13 »

This will seem like a rather weak criticism (it's not even really a criticism because I thought this film was superb) but one of the main reasons that I didn't rate it quite as highly as other Coen Brothers films is that the violence is constant and, to me, unrealistic. I appreciate that they were following the book but obviously it was their decision to make the adaptation in the first place. I understand the themes presented but this struck me as a reasonably sensationalist or melodramatic way of invoking this particular avenue of contemplation. Ironically, it lacked the nuanced subtly of their own scripts, such as the strategic, economic use of violence in Fargo or The Man Who Wasn't There.
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Re: No Country For Old Men
« Reply #71 on: 02 Mar 2008, 11:31 »

I'd agree with you if the violence didn't get gradually turned down as the film goes on. By the last third of the film, all the murder takes place off-screen.
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Re: No Country For Old Men
« Reply #72 on: 02 Mar 2008, 11:50 »

We're left instead with scenes where people pry bullets from wounds and check their shoes for blood. The latter scene is haunting.
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Re: No Country For Old Men
« Reply #73 on: 02 Mar 2008, 13:50 »

The film's dark, of course, but the wanton slaughter decreases notably over time. At the beginning of the movie we're treated to Anton graphically strangling and bolt-gunning people, and by the end of the film we don't see him kill people, but we know that he does. Dark, but not graphic. Either the mercenary or his employer (I don't remember which) is the last person we see die.
« Last Edit: 02 Mar 2008, 13:52 by Kid van Pervert »
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Re: No Country For Old Men
« Reply #74 on: 03 Mar 2008, 01:17 »

(SPOILER SPOILER SPOILER)

I didn't think it was "random violence" as you put it.  Remember that the Mexicans were talking to his wife's mother?
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Re: No Country For Old Men
« Reply #75 on: 12 Mar 2008, 10:41 »

i just watched this for the first time (finally) last night and i thought it was excellent. everything i imagined. i'm gonna be watching it again later today.

-snip-
Either the mercenary or his employer (I don't remember which) is the last person we see die.

the last person you actually see die is the employer. when he kills the mercenary, we are in the room with him, we see the gun go off, but the victim is obscured by the chair he's sitting in. that's the actual point where it transitions from seeing the violence, to seeing only the aftermath.
it's sort of a half way point as far as that goes.

my only grievance with this whole movie is that Chigurh (sp?) initially appears to be shooting buckshot/birdshot/pellets/whatever out of his silenced shotgun; which is obviously preposterous. it only happens a couple of times before he appears to switch to slugs but it really bothered me, for some reason.
anyway, if that's my only beef with a movie then i'd call it a resounding success.
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Re: No Country For Old Men
« Reply #76 on: 12 Mar 2008, 12:05 »


my only grievance with this whole movie is that Chigurh (sp?) initially appears to be shooting buckshot/birdshot/pellets/whatever out of his silenced shotgun; which is obviously preposterous. it only happens a couple of times before he appears to switch to slugs but it really bothered me, for some reason.
anyway, if that's my only beef with a movie then i'd call it a resounding success.

If I recall they covered that in the book. But damn if I remember how.
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Re: No Country For Old Men
« Reply #77 on: 12 Mar 2008, 12:10 »

yeah, i need to read the book. i absolutely loved The Road so i've been meaning to check out his other books but haven't gotten around to it.
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Re: No Country For Old Men
« Reply #78 on: 12 Mar 2008, 12:39 »

i absolutely loved The Road...
Yeah. I actually listened to the audio book of No Country... but I read The Road and All the Pretty Horses just recently. The Road read just like poetry. Incredible stuff.
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Liz

Re: No Country For Old Men
« Reply #79 on: 12 Mar 2008, 18:38 »

I bought the DVD today. I am not letting myself watch it until I finish my anthropology assignment and study for the two tests I have tomorrow. So I will probably be viewing it again on Friday, I'm thinking.
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Re: No Country For Old Men
« Reply #80 on: 13 Mar 2008, 07:07 »

So I just had a dream I was being chased by Chigurh last night.  Scariest fucking nightmare I've ever had.
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Re: No Country For Old Men
« Reply #81 on: 14 Mar 2008, 02:21 »


Saw the movie tonight.  The movie itself was... good.  I didn't feel like it was amazing, but it was very engaging.  Maybe I need to see it again, I dunno, but it just didn't grab me and shake me like a bad babysitter.

I really liked Inlander's statement, but my only difference with him is how I see the performances:  [Day-Lewis ≈ Tommy Lee Jones]  > Javier Bardem  well damn, I've been going back and forth over this for the last 10 minutes, I can't rank these performances, they were all great.

BUT i definitely feel like TLJ was overlooked in this movie.   Inlander said it best, his performance was beautiful.  Understated but powerful, also very funny without overdoing it.

One thing I really liked about it was how the Coens trust the audience to be smart, and to understand without having things explained to them.  One of my favorite parts was when Moss is lying in bed, in a hotel, and says "There's no way."  It brings to the forefront exactly what the audience has going on in the back of their minds, and it doesn't overexplain.  It trusts the audience to finish that thought in their minds, and it also really shows what a keen guy Moss really is.  I'm not sure if I explained that well; if someone could do a better job, have at it. 

Also, the Coens DEFINITELY deserved the Oscar for Best Director.  Gorgeous film, the filmmaking said SO much in this film, great stuff. 


Finally, the BEST line in the movie: "How them Larry's workin' out for ya?"  I laughed so hard, I almost missed that entire scene.  :laugh:



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Re: No Country For Old Men
« Reply #82 on: 14 Mar 2008, 08:08 »

It's better the second time around. Everyone that has only seen it once needs to see it again, you pick up on all the little things you missed the first time. I definately payed attention to the lack of music, which I kinda noticed before, and it just makes the whole movie more tense. I swear I was holding my breath for about half the movie even though I knew what was going to happen.
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Re: No Country For Old Men
« Reply #84 on: 15 Mar 2008, 17:34 »

 I finally watched it the other night. I loved it! All of the acting was wonderful (Javier Bardem's performance was scarier than any horror movie). The biggest reason I liked it, however, was that there is finally a movie out that is different! I have one question though..

 How did everybody know that Llewelyn took the money?

 I guess the thirsty Mexican guy could have told on him, but how did any of the Mexicans know his name?
« Last Edit: 15 Mar 2008, 17:35 by Cartilage Head »
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Re: No Country For Old Men
« Reply #85 on: 15 Mar 2008, 18:13 »

Nah, he left his truck to give the dying gangster water, and the other gangsters slashed his tires and took the registration plate from inside the door. So in the non-internetted world of 1978 (I think that's when it takes place?) the gangsters had to wait until the next day to verify Llewelyn's identity, giving him plenty of time to orchestrate an escape. I think Anton figures it out through the license plate, or something.
« Last Edit: 15 Mar 2008, 18:15 by Kid van Pervert »
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Re: No Country For Old Men
« Reply #86 on: 16 Mar 2008, 21:44 »

The organization/man who hired Chigurh also gave the information about Llewellyn to the Mexicans. That's why Chigurh goes to the office building and blows away the unnamed man behind the desk--the Mexicans were getting in his way. That, and the guy hired another hit man to kill Chigurh for drawing too much attention to the whole situation.

I watched it again last night, and the meaning behind it really struck me this time. I personally interpreted the movie's message as: even when you know that there's no way out, even when faced with a situation where it's literally impossible to win, there's no alternative but to live, to live until your number's up. That, and, along that same line, that even in the darkest, harshest conditions, you have to go on and believe that there will be some reprieve in the final score--that's what I took from Jones' final monologue at the end.
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