In No Country for Old Men flieht Josh Brolin vor Javier Bardem, dem organisierten Verbrechen und der Polizei, weil er zwei Millionen Dollar an sich. No Country For Old Men. ()IMDb 8,11 Std. 57 MinX-Ray Bei der Antilopenjagd im Südwesten von Texas entdeckt Llewelyn Moss die Leichen. Über Filme auf DVD bei Thalia ✓»No Country for Old Men«und weitere DVD Filme jetzt online bestellen!
No Country for Old Men60 Userkritiken zum Film No Country For Old Men von Joel Coen,Ethan Coen mit Tommy Lee Jones, Javier Bardem, Josh Brolin - planetmut.com Über Filme auf DVD bei Thalia ✓»No Country for Old Men«und weitere DVD Filme jetzt online bestellen! No Country for Old Men ist ein US-amerikanischer Spielfilm von Ethan und Joel Coen aus dem Jahr mit Tommy Lee Jones, Javier Bardem und Josh Brolin.
No Country For Old Movies / TV VideoNo Country for Old Men - 'The Deputy' (HD) - Javier Bardem - MIRAMAX 3/23/ · In , writer/director duo Joel and Ethan Coen released No Country for Old Men, an adaptation of Cormac McCarthy's celebrated novel of the same name. It quickly became heralded as one of the. Retrieved April Tyler Posey Dylan OBrien, Complicating things is the arrival of Anton Chigurh, a hitman hired to recover the money. User Ratings. He has written words for Den of Geek, Collider, The Irish Yoy. Tv and Screen Rant over the years, and can discuss anything from the MCU - where Hawkeye is clearly the best Br Livestream Heute - to the most obscure cult b-movie Star Trek 13, and his hot takes often require heat resistant gloves to handle. Critic Peter Bradshaw of The Guardian stated that "the savoury, serio-comic tang of the Coens' film-making style is recognisably present, as is their predilection for the weirdness of hotels and motels". After much deliberation, Carla Jean decides to inform Sheriff Bell about the meeting and its location. Florida Film Critics Circle Award for Best Film. Metacritic Reviews. They've put violence on screen before, lots of it, but not like this. The Gardener's Son The Sunset Limited The Counselor Now in his late 50s, Bell has spent most of his life attempting to make up for the incident when he was a year-old soldier. We know that a tracking device was placed in it from the very beginning to keep tabs on its whereabouts, but Moss destroyed that. Driving Miss Daisy Dances with Wolves The Silence of the Lambs The Crying Game Schindler's List Forrest Gump Apollo 13 The English Patient Titanic Saving Mature.De Ryan American Beauty Gladiator Moulin Rouge! All the In 90 Tagen Zum Altar Horses The Crossing Cities of the Plain View All Critic Reviews Llewelyn Moss Woody Harrelson It follows a man Ndr Drosten stumbles onto a drug deal gone bad and tries to get away with a case full of money as a hitman and a Das Verrückte Strandhotel Stream both pursue him.
Metacritic Reviews. Photo Gallery. Trailers and Videos. DID YOU KNOW? Crazy Credits. Alternate Versions. Rate This. Violence and mayhem ensue after a hunter stumbles upon a drug deal gone wrong and more than two million dollars in cash near the Rio Grande.
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Favorite Oscar-Winning Best Picture Crime Movie? Top Rated Movies Won 4 Oscars. Edit Cast Cast overview, first billed only: Tommy Lee Jones Ed Tom Bell Javier Bardem Anton Chigurh Josh Brolin Llewelyn Moss Woody Harrelson The deepest danger has passed as soon as Chigurh finds and Javier Bardem's acting confirms this and reveals to the man that he has won.
Dennis Lim of The New York Times stressed that "there is virtually no music on the soundtrack of this tense, methodical thriller. Long passages are entirely wordless.
In some of the most gripping sequences what you hear mostly is a suffocating silence. The idea here was to remove the safety net that lets the audience feel like they know what's going to happen.
I think it makes the movie much more suspenseful. You're not guided by the score and so you lose that comfort zone. James Roman observes the effect of sound in the scene where Chigurh pulls in for gas at the Texaco rest stop.
As the scene opens in a long shot, the screen is filled with the remote location of the rest stop with the sound of the Texaco sign mildly squeaking in a light breeze.
The sound and image of a crinkled cashew wrapper tossed on the counter adds to the tension as the paper twists and turns.
The intimacy and potential horror that it suggests is never elevated to a level of kitschy drama as the tension rises from the mere sense of quiet and doom that prevails.
Jeffrey Overstreet adds that "the scenes in which Chigurh stalks Moss are as suspenseful as anything the Coens have ever staged. And that has as much to do with what we hear as what we see.
No Country for Old Men lacks a traditional soundtrack, but don't say it doesn't have music. The blip-blip-blip of a transponder becomes as frightening as the famous theme from Jaws.
The sound of footsteps on the hardwood floors of a hotel hallway are as ominous as the drums of war. When the leather of a briefcase squeaks against the metal of a ventilation shaft, you'll cringe, and the distant echo of a telephone ringing in a hotel lobby will jangle your nerves.
While No Country for Old Men is a "doggedly faithful" adaptation of McCarthy's novel and its themes, the film also revisits themes which the Coens had explored in their earlier movies Blood Simple and Fargo.
Still, the Coens open the film with a voice-over narration by Tommy Lee Jones who plays Sheriff Ed Tom Bell set against the barren Texas country landscape where he makes his home.
His ruminations on a teenager he sent to the chair explain that, although the newspapers described the boy's murder of his year-old girlfriend as a crime of passion, "he told me there weren't nothin' passionate about it.
Said he'd been fixin' to kill someone for as long as he could remember. Said if I let him out of there, he'd kill somebody again.
Said he was goin' to hell. Reckoned he'd be there in about 15 minutes. And their impact has been improved upon in the delivery. When I get the DVD of this film, I will listen to that stretch of narration several times; Jones delivers it with a vocal precision and contained emotion that is extraordinary, and it sets up the entire film.
In The Village Voice , Scott Foundas writes that "Like McCarthy, the Coens are markedly less interested in who if anyone gets away with the loot than in the primal forces that urge the characters forward In the end, everyone in No Country for Old Men is both hunter and hunted, members of some endangered species trying to forestall their extinction.
New York Times critic A. Scott observes that Chigurh, Moss, and Bell each "occupy the screen one at a time, almost never appearing in the frame together, even as their fates become ever more intimately entwined.
Variety critic Todd McCarthy describes Chigurh's modus operandi : "Death walks hand in hand with Chigurh wherever he goes, unless he decides otherwise Occasionally, however, he will allow someone to decide his own fate by coin toss, notably in a tense early scene in an old filling station marbled with nervous humor.
Jim Emerson describes how the Coens introduced Chigurh in one of the first scenes when he strangles the deputy who arrested him: "A killer rises: Our first blurred sight of Chigurh's face As he moves forward, into focus, to make his first kill, we still don't get a good look at him because his head rises above the top of the frame.
His victim, the deputy, never sees what's coming, and Chigurh, chillingly, doesn't even bother to look at his face while he garrotes him. Critic Peter Bradshaw of The Guardian stated that "the savoury, serio-comic tang of the Coens' film-making style is recognisably present, as is their predilection for the weirdness of hotels and motels".
But he added that they "have found something that has heightened and deepened their identity as film-makers: a real sense of seriousness, a sense that their offbeat Americana and gruesome and surreal comic contortions can really be more than the sum of their parts".
Geoff Andrew of Time Out London said that the Coens "find a cinematic equivalent to McCarthy's language: his narrative ellipses, play with point of view, and structural concerns such as the exploration of the similarities and differences between Moss, Chigurh and Bell.
Certain virtuoso sequences feel near-abstract in their focus on objects, sounds, light, colour or camera angle rather than on human presence Notwithstanding much marvellous deadpan humour, this is one of their darkest efforts.
Arne De Boever believes that there is a "close affinity, and intimacy even, between the sheriff and Chigurh in No Country for Old Men [which is developed] in a number of scenes.
There is, to begin with, the sheriff's voice at the beginning of the film, which accompanies the images of Chigurh's arrest.
This initial weaving together of the figures of Chigurh and the sheriff is further developed later on in the film, when the sheriff visits Llewelyn Moss' trailer home in search for Moss and his wife, Carla Jean.
Chigurh has visited the trailer only minutes before, and the Coen brothers have the sheriff sit down in the same exact spot where Chigurh had been sitting which is almost the exact same spot where, the evening before, Moss joined his wife on the couch.
Like Chigurh, the sheriff sees himself reflected in the dark glass of Moss' television, their mirror images perfectly overlapping if one were to superimpose these two shots.
When the sheriff pours himself a glass of milk from the bottle that stands sweating on the living room table—a sign that the sheriff and his colleague, deputy Wendell Garret Dillahunt , only just missed their man—this mirroring of images goes beyond the level of reflection, and Chigurh enters into the sheriff's constitution, thus further undermining any easy opposition of Chigurh and the sheriff, and instead exposing a certain affinity, intimacy, or similarity even between both.
In an interview with Charlie Rose , co-director Joel Coen acknowledged that "there's a lot of violence in the book," and considered the violence depicted in the film as "very important to the story".
He further added that "we couldn't conceive it, sort of soft pedaling that in the movie, and really doing a thing resembling the book Los Angeles Times critic Kenneth Turan commented on the violence depicted in the film: "The Coen brothers dropped the mask.
They've put violence on screen before, lots of it, but not like this. Not anything like this. No Country for Old Men doesn't celebrate or smile at violence; it despairs of it.
But it's also clear that the Coen brothers and McCarthy are not interested in violence for its own sake, but for what it says about the world we live in As the film begins, a confident deputy says I got it under control, and in moments he is dead.
He didn't have anywhere near the mastery he imagined. And in this despairing vision, neither does anyone else. NPR critic Bob Mondello adds that "despite working with a plot about implacable malice, the Coen Brothers don't ever overdo.
You could even say they know the value of understatement: At one point they garner chills simply by having a character check the soles of his boots as he steps from a doorway into the sunlight.
By that time, blood has pooled often enough in No Country for Old Men that they don't have to show you what he's checking for. Critic Stephanie Zacharek of Salon states that "this adaptation of Cormac McCarthy 's novel touches on brutal themes, but never really gets its hands dirty.
The movie's violence isn't pulpy and visceral, the kind of thing that hits like a fist; it's brutal, and rather relentless, but there are still several layers of comfortable distance between it and us.
At one point a character lifts his cowboy boot, daintily, so it won't be mussed by the pool of blood gathering at his feet No Country for Old Men feels less like a breathing, thinking movie than an exercise.
That may be partly because it's an adaptation of a book by a contemporary author who's usually spoken of in hushed, respectful, hat-in-hand tones, as if he were a schoolmarm who'd finally brought some sense and order to a lawless town.
Ryan P. Doom explains how the violence devolves as the film progresses. The strangulation in particular demonstrates the level of the Coens' capability to create realistic carnage-to allow the audience to understand the horror that violence delivers.
Chigurh kills a total of 12 possibly more people, and, curiously enough, the violence devolves as the film progresses.
During the first half of the film, the Coens never shy from unleashing Chigurh The devolution of violence starts with Chigurh's shootout with Moss in the motel.
Aside from the truck owner who is shot in the head after Moss flags him down, both the motel clerk and Wells's death occur offscreen.
Wells's death in particular demonstrates that murder means nothing. Calm beyond comfort, the camera pans away when Chigurh shoots Wells with a silenced shotgun as the phone rings.
He answers. It is Moss, and while they talk, blood oozes across the room toward Chigurh's feet. Not moving, he places his feet up on the bed and continues the conversation as the blood continues to spread across the floor.
By the time he keeps his promise of visiting Carla Jean, the resolution and the violence appear incomplete. Though we're not shown Carla Jean's death, when Chigurh exits and checks the bottom of his socks [boots] for blood, it's a clear indication that his brand of violence has struck again.
Richard Gillmore states that "the previous Coen brothers movie that has the most in common with No Country for Old Men is, in fact, Fargo In Fargo there is an older, wiser police chief, Marge Gunderson Frances McDormand just as there is in No Country for Old Men.
In both movies, a local police officer is confronted with some grisly murders committed by men who are not from his or her town.
In both movies, greed lies behind the plots. Both movies feature as a central character a cold-blooded killer who does not seem quite human and whom the police officer seeks to apprehend.
Joel Coen seems to agree. In an interview with David Gritten of The Daily Telegraph , Gritten states that "overall [the film] seems to belong in a rarefied category of Coen films occupied only by Fargo , which Joel sighs.
There are parallels. The similarity to Fargo did occur to us, not that it was a good or a bad thing. That's the only thing that comes to mind as being reminiscent of our own movies, [and] it is by accident.
Richard Corliss of Time magazine adds that "there's also Tommy Lee Jones playing a cop as righteous as Marge in Fargo ",  while Paul Arendt of the BBC stated that the film transplants the "despairing nihilism and tar-black humour of Fargo to the arid plains of Blood Simple.
Some critics have also identified similarities between No Country for Old Men and the Coens' previous film Raising Arizona , namely the commonalities shared by Anton Chigurh and the fellow bounty hunter Leonard Smalls.
Although Paul Arendt of the BBC finds that " No Country For Richard Gillmore, it "is, and is not, a western. It takes place in the West and its main protagonists are what you might call westerners.
On the other hand, the plot revolves around a drug deal that has gone bad; it involves four-wheel-drive vehicles, semiautomatic weapons, and executives in high-rise buildings, none of which would seem to belong in a western.
William J. Devlin finesses the point, calling the film a "neo-western", distinguishing it from the classic western by the way it "demonstrates a decline, or decay, of the traditional western ideal The moral framework of the West The villains, or the criminals, act in such a way that the traditional hero cannot make sense of their criminal behavior.
Deborah Biancott sees a "western gothic The wanderer, the psychopath, Anton Chigurh, is a man who's supernaturally invincible.
Even the directors have weighed in. Joel Coen found the film "interesting in a genre way; but it was also interesting to us because it subverts the genre expectations.
Gillmore, though, thinks that it is "a mixing of the two great American movie genres, the western and film noir," which "reflect the two sides of the American psyche.
On the one hand, there is a western in which the westerner is faced with overwhelming odds, but between his perseverance and his skill, he overcomes the odds and triumphs.
In film noir, on the other hand, the hero is smart more or less and wily and there are many obstacles to overcome, the odds are against him, and, in fact, he fails to overcome them.
This genre reflects the pessimism and fatalism of the American psyche. With No Country for Old Men , the Coens combine these two genres into one movie.
It is a western with a tragic, existential, film noir ending. One of the themes in the story involves the tension between destiny and self-determination.
According to Richard Gillmore, the main characters are torn between a sense of inevitability, "that the world goes on its way and that it does not have much to do with human desires and concerns", and the notion that our futures are inextricably connected to our own past actions.
Llewelyn Moss Josh Brolin wavers between immoral behavior such as taking money that doesn't belong to him, refusing to involve the police and placing his family in grave danger, and moral acts of courage such as returning to the scene of the shootout to give a dying man water, separating himself from his family and refusing the advances of a comely woman at a motel demonstrating a flexibility of principle, as well as desire to escape consequences and a fierce will to survive at all costs.
Anton Chigurh is the most amoral, killing those who stand in his way and ruling that a coin toss decides others' fate.
The third man, Sheriff Ed Tom Bell, believes himself to be moral, but feels overmatched, however stalwart he might personally be, against the depravity that surrounds and threatens to overwhelm him.
Not only behavior, but position alters. One of the themes developed in the story is the shifting identity of hunter and hunted. Scott Foundas stresses that everyone in the film plays both roles,  while Judie Newman focuses on the moments of transition, when hunter Llewelyn Moss and investigator Wells become themselves targets.
The story contrasts old narratives of the "Wild West" with modern crimes, suggesting that the heroes of old can at best hope to escape from rather than to triumph over evil.
Devlin explores the narrative of Sheriff Ed Tom Bell, an aging Western hero, symbolic of an older tradition, who does not serve an underpopulated "Wild West", but an evolved landscape with new breeds of crime which baffle him.
The reception to the film's first press screening in Cannes was positive. Screen International ' s jury of critics, assembled for its daily Cannes publication, all gave the film three or four marks out of four.
The magazine 's review said the film fell short of 'the greatness that sometimes seems within its grasp'. But it added that the film was 'guaranteed to attract a healthy audience on the basis of the track record of those involved, respect for the novel and critical support.
The film subsequently increased the number of theaters to 2, It was the 5th highest ranking film at the US box office in the weekend ending December 16, No Country for Old Men is the third-lowest-grossing Oscar winner, only surpassing Crash and The Hurt Locker Buena Vista Home Entertainment released the film on DVD and in the high definition Blu-ray format on March 11, in the US.
The only extras are three behind-the-scenes featurettes. Website Blu-ray. It stated that "with its AVC MPEG-4 video on BD, the picture quality of No Country for Old Men stands on the highest rung of the home video ladder.
Color vibrancy, black level, resolution and contrast are reference quality Every line and wrinkle in Bell's face is resolved and Chigurh sports a pageboy haircut in which every strand of hair appears individually distinguishable.
The early critical reception of the novel was mixed. William J. Cobb, in a review published in the Houston Chronicle July 15, , characterizes McCarthy as "our greatest living writer" and describes the book as "a heated story that brands the reader's mind as if seared by a knife heated upon campfire flames".
In contrast, literary critic Harold Bloom does not count himself among the admirers of No Country for Old Men , stating that it lacked the quality of McCarthy's best works, particularly Blood Meridian , and compared it to William Faulkner 's A Fable.
When comparing the lack of "moral argument" in Blood Meridian to the heightened morality present in No Country for Old Men , he considered stating that the "apocalyptic moral judgments" made in No Country for Old Men represented "a sort of falling away on McCarthy's part".
The novel has received a significant amount of critical attention, for example, Lynnea Chapman King, Rick Wallach and Jim Welsh's edited collection No Country for Old Men: From Novel to Film  or Raymond Malewitz's "Anything Can Be an Instrument: Misuse Value and Rugged Consumerism in Cormac McCarthy's No Country for Old Men.
In , Joel and Ethan Coen adapted the book into a film, also titled No Country for Old Men , which was met with critical acclaim and box office success.
On January 27, , the film won the Screen Actors Guild Award for Outstanding Performance by a Cast in a Motion Picture. On February 24, , it won four Academy Awards : Best Picture , Best Director Joel and Ethan Coen , Best Adapted Screenplay Joel and Ethan Coen , and Best Supporting Actor Javier Bardem as Anton Chigurh.
From Wikipedia, the free encyclopedia. For the film, see No Country for Old Men film. Dewey Decimal. Main article: No Country for Old Men film. The Script Lab.
Retrieved The Cormac McCarthy Society Journal. The New York Times. Retrieved December 3, The A. June 15, The catalyst for the events of No Country for Old Men comes when Llewelyn Moss stumbles upon the aftermath of a shootout in Texas while out poaching.
Llewelyn finds and takes a satchel full of money from the shootout site. The story that follows is very tightly focused on just a few people caught up in the chaos that unfolds, which means we never really learn that much about who was at the shootout and why everything went bad.
What we do know, based on the discussions major characters have about the shootout, is that it involved two major criminal organizations, one based in Mexico and the other based in the United States.
While the film does briefly move south of the border, most of it unfolds from the American perspective, so we don't know which cartel or other group was moving the drugs across the border in the first place.
They seem to have recouped their product to sell it again, but other than that, their future is unclear. There won't be a sequel to No Country for Old Men , but if there was, it might focus on the future of the Mexican cartel and its drug supply, what they plan to do with it, and how they might retaliate against their counterparts on the other side of the border.
Viewers know the Mexican half of the drug deal went badly wrong, but it's clear from the events of the film that the other side may be much worse off by the time the dust settles.
On the American side, the organization attempting to buy the drugs has neither the drugs they wanted nor the money they planned to spend after Llewelyn made off with it, putting them in a bind from the beginning.
Then, to make matters worse, Anton Chigurh launches his own reign of terror against them that seems to go all the way up to the top.
We don't know if the man who sends hitman Carson Wells to go after Chigurh and recover the money was at the very top of the organization, but he was clearly a key part of the leadership, and by the end of the film he too is dead.
It's possible there's now a headless criminal enterprise in Texas trying to scatter to avoid law enforcement, or regroup and continue operating.
We don't get to see the full fallout here, either, but it won't be pretty. Much of No Country for Old Men follows Sheriff Ed Tom Bell as he becomes increasingly concerned about his place in the world as an aging lawman, heir to a family legacy of Texas law enforcement.
The deeper Bell gets into the situation involving Moss, Chigurh, the drug deal gone bad, and the missing money, the more concerned he is about the future.
At one point he flat-out says that he just feels "overmatched," and worries that the violence around him is escalating in a way he can't contend with.
He notes that many lawmen in his area used to go without even carrying guns, and now that feels outdated. By the end of the film, Ed Tom is retired, his sense of law and order upended by the Moss affair, which means someone else now has to follow in his footsteps and become the next sheriff.
Whether that's his deputy Wendell or someone else, Bell will no doubt have some standing in his community as a kind of elder statesman. He's not just going to hole up in his house and never talk to anyone, so we're left to wonder: Now that his state of mind is forever changed, how will he react when the next sheriff comes asking for advice?