No Country for Old Men

No Country for Old Men is the latest effort put forth by the heralded and somewhat cultic Cohen Brothers (directors of Raising Arizona, Fargo, The Big Lebowski, O Brother Where Art Thou, Blood Simple).

And what an effort it is.

The film's setting is West Texas in the year 1980, again displaying the Cohen brothers keen ability to master atmosphere on the screen. Texas is an iconic enough location to lend legitimacy, however West Texas is also remote enough to deliver the eerie feeling of unfamiliarity the film's plot requires. And 1980 - where the 70's can be overdone with nostalgia and retro-glamour, and the late 80's still a little too familiar and stereotypical- 1980 seems unassuming, almost forgetable and yet haunting when matched with the locale, characters and plot of this masterful tale.

The film is grim and gritty, filled with browns, greys, lingering shots of prarie life, stomach knotting dialogue, and coldsweat suspense. If you're familiar with the Cohen brothers, then my friend Rick's comment is well stated - No Country is Fargo minus Raising Arizona. Where Fargo hits hard at times, it also lets up and gives those moments of dark comical relief. Let's you catch your breath. No Country hits you from the opening scene and doesn't stop. The word I still haven't found a more accurate substiture for to describe the film is relentless.

"The story begins when Llewelyn Moss finds a pickup truck surrounded by a sentry of dead men. A load of heroin and two million dollars in cash are still in the back. When Moss takes the money, he sets off a chain reaction of catastrophic violence that not even the law - in the person of aging, disillusioned Sheriff Bell - can contain. As Moss tries to evade his pursuers - in particular a mysterious mastermind who flips coins for human lives - the film simultaneously strips down the American crime drama and broadens its concerns to encompass themes as ancient as the Bible, and as bloodily contemporary as this morning's headlines." (nocountryforoldmen.com)

Remember two things:

1) The Cohen bros. directed this film -enough said.

2) The film's villian is honestly worthy of being mentioned in the same sentence as Hannibal Lecter - not as grotesque but equally efficient and brilliant. The difference though is that when watching Silence and Hannibal, in the back of your mind you are always kinda thinking, Man, Anthony Hopkins is an incredible actor, thus keeping you somewhat tethered to the reality that you're watching a performance. In No Country, the villian is played by someone not as noteworthy (at least here in America) but played with such equal brilliance that you for several moments think he could be real.

I could say more...but just see this movie. But maybe not on a date. It's not the warm and fuzzy type. Then again Jerry Seinfeld did make out in Schindler's List...