Onde os Fracos Não Têm Vez

Days after seeing it, I am still haunted by No Country for Old Men. There is just something so effectual and uncompromising about it, that mere words will only begin to skim the surface of the cinematic excellence on display.

At its most simplistic, the film is a game of cat and mouse. The mouse here is Llewelyn Moss (Josh Brolin), a hunter who stumbles upon two million in cash after a drug deal gone wrong, and takes it thinking nothing of it. He tries to cover his tracks, but ends up letting the group looking for the money, figure out his identity. The cat is Anton Chigurh (Javier Bardem), a hit-man hired to find Moss and the money. But Chigurh is unconventional at best; he also happens to be bordering on mentally insane. And another man, a law man this time, Sheriff Bell (Tommy Lee Jones), is on the trail of both men as they criss-cross around Texas.

Right up until its dénouement, the film is simply brilliant. Taut and thrilling, it blows right through the majority of its two hour runtime with ease. Even during moments of slowing down, the film stays right on track and never feels like it has run its course. It engages even when it appears that nothing is happening. The Coen Brothers truly crafted what appears at first glance to be a masterpiece, even if it is their first real shot at something that is not indelibly and inarguably their own. Even without reading Cormac McCarthy's novel, I know that the Coens have done it justice, even with their bitterly twisted and dark sense of humour scattered throughout the film.

But all of that comes to a standstill as the film concludes. The last twenty or so minutes feel like hours as the film wraps itself up, and it almost feels like these scenes belong to another movie entirely (one that borders on being pretentious and monotonous). I realize now that McCarthy's novel probably ends the same way, but it does not help provide closure to the fact that the movie is so break-neck paced right up until this happens. Its brilliance is shattered by what looks to be a series of tattered events thrown together to provide closure for all of the characters, alive or dead, and for its audience. It speaks volumes to the film's title, but it just does not feel satisfying compared to the rest of what we saw. Even with its enigmatic devices at play, I still cannot come to terms with how the film closes. It does haunt, and in a way, it may prove to be a significantly stronger ending as time rolls on. But as it stands now, it just feels weak.

What is also a bit of a surprise, and only seems to appear as the film concludes, is the music. It is not so obvious at first, but the majority of the film is audibly shown with just the sounds the characters make and no background music to speak of. This element is brilliantly used, as it helps intensify every situation and makes the film downright terrifying in some cases. It just helps truly make the film come together, and only helps establish the quick pacing even more so. It was definitely a surprise, and one that will probably help the lasting impact of the film become even stronger.

The lush and bloodsoaked visuals also help to define the film. Despite the film taking place mainly in deserted areas, or the desert itself, the camera manages to capture just the right essence of what the writing and acting is conveying. The isolation and the terror almost become characters themselves through these visuals, and are sure to be recognized as the award season rolls in.

The film's acting is also very well done. Brolin anchors the film and even when it is just the audience reacting to his attempts at saving his life, he manages to deliver the best performance of his career. He breathes life into Moss, and truly brings a sense of pathos to the character. We feel for him and his greedy mistake, and as he develops into a man unwilling to go down without a fight, he only manages to up the ante for himself countlessly. Jones, as the law man stuck on the fringe of every event, also does very well for himself. Most of his work is simply delivering dialogue, but it is delivered in such a fashionable sense that you feel like he is speaking to the bigger picture of things, and not just himself. I would have liked a bit more development in his character, but what little there is helps his performance greatly.

Supporting turns from Woody Harrelson and Kelly Macdonald are also done well, but are overshadowed by the main cast by both Brolin and Jones.

And even more of an overcast is Bardem as the ruthless Chigurh. He absolutely nails this character down to his very bones. If anyone is merely toying with the idea of seeing the film, it should be specifically for Bardem. His performance is calculating and plagued with petrifying silence. When he chooses to talk, his words sound like they are being given by the essence of evil. This is a man with a plan, but it is one that only belongs to him. His enigmatic presence is developed throughout the film, and never once does it feel particularly appropriate to understand where this menace comes from. Watching him on screen is a jolt to the heart, and will go down as one of the best performances of the decade. His terrible hair only helps to make his character that more scary and formidable.

No Country for Old Men is one of the best pictures of the year, even if it is flawed. Its brilliance and lasting impact with leave you haunted.

8.5/10.

No Country For Old Men. It's a near perfect western thriller gone somewhat wrong in the end. Hero a hunter himself finds a bag full of money from a crime scene but then gets hunted down by a crazy lunatic killer. Adding other dimensions there is aging sheriff trying to help hero without his knowledge. The movie starts and flows like a clean water with edgy characters, tricky situations and some clever ideas. Then when you are all set for bang-bang climax, movie takes a different route, plot becomes ambiguous, motives become unclear and our hero is out of the story just like that. If you are not overly miffed by the deviation in last half an hour, then you would be attracted to this like an iron to magnet because of its crazy characters, witty dialogs, haunting atmosphere and chilling silence.

No Country for Old Men (2007)

*** 1/2 (out of 4)

A hunter (Josh Brolin) comes across a group of trucks with dead bodies everywhere and discovers $2 million in cash, which he takes. Soon a psychotic killer (Javier Bardem) is after him while a local sheriff (Tommy Lee Jones) tries to figure out what's going on. I'll start off by saying that I'm not a big fan of the Coen brothers. With that out of the way, this is certainly the best movie I've seen from them but it goes downhill very quickly in the final thirty-minutes, which are quite horrid to be honest. However, everything before that is masterfully done with a beautiful craft that makes this familiar story come off very original, dark and at times funny. I really enjoyed the slow pace that the film carries but I'm not sure if that's how I should describe it. The movie has plenty of graphic violence and action and what makes it so shocking is that it usually comes out of no where or happens when you don't expect it. The pace of the film is slow but this helps when the violence breaks out. The performances are all terrific with Bardem stealing the show as the psychotic killer. Whenever he's on screen you can't take your eyes off of him and his silent performance speaks more than any words could. I was also very impressed with Brolin who I'm usually hit and miss on. Woody Harrelson has a few nice scenes and Tommy Lee Jones is the old Tommy Lee Jones we all love. The film was a lot of fun until the conclusion, which I thought was quite awful.

An opportunity presents to get rich quick, a stash of cash made up of bills thick as a brick, but your conscience sets a trail, for a reaper to assail, a real psycho, has a vessel with a kick. You start to make a run, but you're tracked down, these pursuers cause a grimace, and a frown, until you spot the hidden tracker, locater for deadly attacker, you make escape, but get injured, as you leave town. Determination keeps the story rolling on, everyone risks, the singing of, their own swan song, the lives of others are ignored, fate, luck, destiny explored, but the bounty counts for nothing, if you're long gone.

Some of the finest cinematic characters you'll encounter.

Opinions do look to be sharply divided on this typically interesting effort for the Coen brothers. Some hail it a masterpiece, others don't see the appeal at all. While this viewer doesn't quite fit into the former camp, he will say that it's one of the more unconventional examples of crime fiction that one is likely to see. It's much more of a character piece than anything, with some grisly scenes of violence here and there. Based on the novel by Cormac McCarthy, it centres around three characters, one being a poor hunter named Llewelyn Moss (Josh Brolin), who one day stumbles into the aftermath of some drug deal gone horribly wrong. He finds $2 million on the scene and impulsively decides to keep the money for himself, while a mysterious, creepy, sadistic stranger named Anton Chigurh (Javier Bardem) tracks him down, porting a unique pressurized air weapon. Somewhat involved is a weary Texas sheriff, Ed Tom Bell (Tommy Lee Jones), who's unsettled by what he sees as the changing times. Now, granted, what's going to test the patience of some of the viewers are some of the monologues; this isn't for people who want a straightforward story and who are turned off by philosophical musings. One can hardly fail to notice how low key most of this narrative is; even in the more intense scenes there's never really a sense of urgency. On the plus side, what we do get are some excellent character moments from the solid star trio of Brolin, Bardem, and Jones. The supporting cast is equally impressive - Woody Harrelson, Kelly Macdonald, Garret Dillahunt, Tess Harper, Barry Corbin, Stephen Root, and Beth Grant. The Coens work with some of their reliable prior collaborators such as composer Carter Burwell and cinematographer Roger Deakins. All things considered, "No Country for Old Men" may not be to all tastes, and does require some patience on the part of the viewer. It also doesn't resolve itself in the way one might expect for this genre, and might prove to be less than satisfactory in this regard for some of those watching. There's one fantastic confrontation near the end, but the film closes, curiously enough, after a monologue by Bell about a dream he's had. How much or how little all of this works will be up to the individual viewer. In any event, the actors are all fantastic, especially Bardem, and they make the journey worthwhile. Eight out of 10.