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Format: Prime Video (streaming online video) I want to start by saying `No Country For Old Men' has one of the most menacing bad guys of the many films that. 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 genommen hat. No Country for Old Men im Stream: Jetzt legal online schauen beim Streaminganbieter deiner Wahl · seforlag.se No Country for Old Men jetzt legal online anschauen. Der Film ist aktuell bei Amazon, Netflix, Sky Store, iTunes, Google Play, Microsoft, Rakuten TV, Videoload. No Country for Old Men. 2 Std. 2 seforlag.seekrönte Filme. Llewelyn Moss stolpert bei der Jagd über einen gescheiterten Drogendeal und macht sich mit.
Gibt es No Country for Old Men auf Netflix, Amazon, Sky Ticket, iTunes? Jetzt online Stream finden! No Country for Old Men - der Film - Inhalt, Bilder, Kritik, Trailer, Kinostart-Termine und Bewertung | seforlag.se No Country for Old Men. 2 Std. 2 seforlag.seekrönte Filme. Llewelyn Moss stolpert bei der Jagd über einen gescheiterten Drogendeal und macht sich mit. Weitere Details. Weitere Serien und Filme. Kostenlos Inhalte please click for source, so viel Sie wollen. Buchverfilmungen, Kriminalfilme, Krimi-Thriller, Thriller. Dragons: Die jungen Drachenretter: Sing mit mir. Brutal, Rau, This web page, Düster, Spannend. Javier Bardem. JU-ON: Origins. Vier Fremde — eine Frau auf der Flucht, ein mutiger Flüchtling, eine Bürokratin und ein sich abmühender Vater — begegnen sich in einem Internierungslager in Australien. US-Dollar davon.
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Please fill your email to form below. In , a U. Marshal investigates the disappearance of a murderer who escaped from a hospital for the criminally insane.
A family heads to an isolated hotel for the winter where a sinister presence influences the father into violence, while his psychic son sees horrific forebodings from both past and future.
In rural Texas, welder and hunter Llewelyn Moss Josh Brolin discovers the remains of several drug runners who have all killed each other in an exchange gone violently wrong.
Rather than report the discovery to the police, Moss decides to simply take the two million dollars present for himself.
This puts the psychopathic killer, Anton Chigurh Javier Bardem , on his trail as he dispassionately murders nearly every rival, bystander and even employer in his pursuit of his quarry and the money.
As Moss desperately attempts to keep one step ahead, the blood from this hunt begins to flow behind him with relentlessly growing intensity as Chigurh closes in.
Meanwhile, the laconic Sheriff Ed Tom Bell Tommy Lee Jones blithely oversees the investigation even as he struggles to face the sheer enormity of the crimes he is attempting to thwart.
Written by Kenneth Chisholm kchishol rogers. 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. 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. 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. Sign In. Keep track of everything you watch; tell your friends.
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 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.
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. 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, The only extras are three behind-the-scenes featurettes.
Website Blu-ray. 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.
No other film brings its characters to life so vividly solely on the merits of visual technicalities Watch the nighttime shoot-out between Moss and Chigurh outside the hotel As bullets slam through the windshield of Moss's getaway car, watch as every crack and bullet hole in the glass is extraordinarily defined.
The audio quality earned an almost full mark, where the "bit 48 kHz lossless PCM serves voices well, and excels in more treble-prone sounds Perhaps the most audibly dynamic sequence is the dawn chase scene after Moss returns with water.
Close your eyes and listen to Moss's breathing and footsteps as he runs, the truck in pursuit as it labors over rocks and shrubs, the crack of the rifle and hissing of bullets as they rip through the air and hit the ground Kenneth S.
Brown of website High-Def Digest stated that "the Blu-ray edition of the film However, to my disappointment, the slim supplemental package doesn't include a much needed directors' commentary from the Coens.
It would have been fascinating to listen to the brothers dissect the differences between the original novel and the Oscar-winning film.
It may not have a compelling supplemental package, but it does have a striking video transfer and an excellent PCM audio track.
It was presented in 2. This release included over five hours of new bonus features although it lacks deleted scenes and audio commentary.
Javier Bardem, in particular, has received considerable praise for his performance in the film. Peter Bradshaw of The Guardian called it "the best of the [Coens'] career so far".
Richard Corliss of Time magazine chose the film as the best of the year and said that "after two decades of being brilliant on the movie margins, the Coens are ready for their closeup, and maybe their Oscar ".
Scott of The New York Times stated that "for formalists — those moviegoers sent into raptures by tight editing, nimble camera work and faultless sound design — it's pure heaven.
Both praised the film for its visual language and suspense, David commenting that "Hitchcock wouldn't have done the suspense better".Gibt es No Country for Old Men auf Netflix, Amazon, Sky Ticket, iTunes? Jetzt online Stream finden! Der Vietnamveteran Llewelyn Moss (Josh Brolin) stößt bei der Antilopenjagd im Südwest-Texas des Jahres inmitten der Wüste auf ein Blutbad. No Country. No Country for Old Men - der Film - Inhalt, Bilder, Kritik, Trailer, Kinostart-Termine und Bewertung | seforlag.se In ihrem dicht erzählten Thriller "No Country for Old Men" entführen die beiden Kultfilmer Ethan und Joel Coen ("Fargo") das Publikum in eine kuriose, gewalttätige.