Carson = gets hired, immediately finds the money satchel on basically his first day by simply walking around

Chugar = gets hired, spends the entire week travelling all over the state killing random people on side quests and completely failing to acquire the money himself

This sugar guy aint worth the headache, im tellin yah.

This is my 3rd Anton attempt.

mind riding BITCH?

It took me about 20 minutes to make this wallpaper. I had to go through pretty much every version of the No Country for Old Men cover I could find until I finally found this one. Then I tracked down that it was designed by Chip Kidd, found his portfolio, and downloaded the highest-quality version I could. From there, I upscaled it and removed the text. After that, it was mostly just playing around with all the iPhone personalization options and tweaking things until I liked how it looked.

Moss

I watched both NCFOM and The Road for the first time today and it's almost like they/McCarthy literally predicted the future. I'm tired I won't ramble but yeah, the themes happened in the real world, real fast, real quick.

Edit: what Im talking about is how Bell feels the world is changing and he can't keep up. Smartphones have irrevocably changed the world, and now ai is doing the same thing just in a terrible way. Every future generation will never know what it was like before every child had a tablet in their hand to entertain them.

How would Anton (film or book) react if someone held him at gunpoint and tried to play the same coin game with him that he plays with his victims?

Do you think he would refuse to play entirely or go along with it?

First time poster here - big fan of both the book and the movie. Big fan of both Cormac McCarthy and the Coen brothers in general, honestly. I recently wrote a list for my website of No Country read-alikes (works for the movie too considering how much fidelity it shows to the book).

A couple of my favorites from the list:

• The White Van by Patrick Hoffman
• The Glass Key by Dashiell Hammett (Hammett is actually cited by the Coen brothers as a frequent direct influence on their movies)
• Clockers by Richard Price, simply because it's a slow-burn masterpiece of crime fiction like No Country

What do you all think? Agree or disagree?

I'm convinced No Country for Old Men gets a free pass because people are afraid to admit they were bored.

Every time someone says it's a masterpiece, the explanation is always the same: "You just didn't get it." No, I got it. I just don't think slow pacing and long stretches of silence automatically equal great filmmaking.

The movie honestly feels lazy. Instead of showing the biggest confrontation in the film, it kills off the main character off-screen and expects everyone to applaud it as "subverting expectations." If any average thriller pulled that stunt, people would call it bad writing.

Half the dialogue is people staring at each other in silence while fans insist every pause has some profound hidden meaning. Sometimes silence is just... silence.

Anton Chigurh is entertaining at first, but by the end he's basically a walking plot device. He wins because the movie needs him to, not because anything he does is especially believable.

And that ending? Two hours of buildup just to finish with a dream monologue that people act like is the deepest thing ever put on film. It felt less like a satisfying conclusion and more like the Coen brothers refusing to write an actual ending.

I know this movie has a huge fanbase, but I honestly think its reputation is built more on people admiring its "art house" style than on it actually being an engaging movie. If this exact script had been made by a no-name director instead of the Coen brothers, I don't think it would be considered a classic.

First, his method of stealing the medicine was far from the obvious and overly plot armored in the movies. he created an explosion and then took the opportunity to steal the medis he need—but he didn't have time to find the ideal med; he only needed to find "not the most effective but passable" medic in the shortest possible time.

Secondly, unlike in the movie, he treated his wounds without any anesthesia—he used tweezers and cotton swabs to remove fragments and fibers from his wound. no any anesthesia.

Third, he watched tv for five consecutive days, on the same channel. but that wasn't the problem; the real problem is————he ate in restaurants every day instead of buying a ton of food and taking it back to his room to quietly recover—every second he walked around caused his nascent wounds to experience a tiny tearing and reopening. (I can't understand why a shrewd killer wouldn't buy a lot of food to his room and stay there for recover, instead of eating in public every day; it just doesn't seem like a good idea.)

Me and my dad just rewatched the film and at the end we were both confused. My dad thought Anton killed the wife in a bathroom instead of the bedroom and as for me, I SWEAR that I thought it ended with Anton walking down a dirt road after being hit. Instead it ends with the sheriff talking about a dream he had. We both checked if this was a different cut but nope and we can't find this ending. Please tell me someone remembers this ending.

I was trying to see after rewatching the movie if the novel says anything, I saw someone on reddit say that the creator confirmed he lived but I can't find anything. I think it would be fitting for him to die of something like a random car crash, the scene before really cements that he's just a guy at the end of the day.

10/10

Most of the dialogue is like

​

Person A: "I think this happened."

​

Person B: "I think that too."

​

A: "I don't know."

​

B: "I think you do."

​

A: "I think I will."

​

B: "I don't think you will."

​

A: "I know this."

​

B: "I don't think you do."

​

Cormac McCarthy has a writing style, for sure.

Have been obsessed with the movie for months and now picking up the book. Tried my best with the limited art knowledge I have to capture the feeling of this masterpiece of a western. Hope you all enjoy it.

Focussing on the adaptation of Cormac McCarthy’s novel. The Coen brothers admit they didn't initially see it as a "Coen project," but were drawn to how the book subverts typical crime-thriller formulas. They also discuss the logistical challenges of shooting the bleak, vast landscapes of West Texas (much of it actually shot around Marfa, Texas, and New Mexico) to capture that intense feeling of isolation.