The latest from the Coen brothers, No Country For Old Men, tells the story of a drug deal gone bad. When bystander Llewelyn Moss comes upon $2M in drug money, what follows is a game of cat and mouse when Moss is hunted by hired psycho-assassin Anton Chigurh.
I wouldn’t normally go watch a movie like No Country. Sad, you might note, as this is a rather good movie, but usually the plethora of pseudo-intellectual would-be Oscar films simply saturate the market. The bulk of them bore me out of my skull. There exists a very finite limit to the number of ways in which one can poetically spell out—punch label even—the dire straits of our society.
No Country, however, oozes cool from every crevasse. From the beginning, and for most of the movie, it’s even engaging and entertaining in ways that are theoretically impossible. It’s quite an impressive feat and it bears the mark of genuine skill behind the camera.
Alas, it’s only most of the movie that’s this good and in the end, No Country does suffer from some of the same problems all the other ones do.