No Country For Old Men

It's important to tread gingerly when writing against the current of popular opinion. So I'm told. NO COUNTRY FOR OLD MEN is, in my opinion, less a film than a machination. It is rooted in the naturalist tradition of Norris and Zola in which various characters, each with their own flaws, are set into motion by some turning of a gear (in this case, a drug deal gone sour leaving a million dollars up for grabs). After this initial twist, the pleasure, I suppose, is watching these characters come into conflict with each other, themselves, and the uncaring hand of fate.

Fate, in this case, is one Anton Chigurh, a sociopathic hitman loosely affiliated with the drug trade. Chigurh is your de rigeur serial killer and occupies the plurality of the film's screen time. This is unfortunate as Chigurh's scenes, after the first two or three, are largely unwatchable.

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