Llewelyn Moss stumbles upon dead bodies, $2 million and a hoard of heroin in a Texas desert, but methodical killer Anton Chigurh comes looking for it, with local sheriff Ed Tom Bell hot on his trail. The roles of prey and predator blur as the violent pursuit of money and justice collide.
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Credits: TheMovieDb.

Film Cast:

• Ed Tom Bell: Tommy Lee Jones
• Anton Chigurh: Javier Bardem
• Llewelyn Moss: Josh Brolin
• Carson Wells: Woody Harrelson
• Carla Jean Moss: Kelly Macdonald
• Wendell: Garret Dillahunt
• Loretta Bell: Tess Harper
• Ellis: Barry Corbin
• Man who hires Wells: Stephen Root
• El Paso Sheriff: Rodger Boyce
• Carla Jean’s Mother: Beth Grant
• Poolside Woman: Ana Reeder
• Sheriff Bell’s Secretary: Kit Gwin
• Strangled Deputy: Zach Hopkins
• Man in Ford: Chip Love
• “Agua” Man: Eduardo Antonio Garcia
• Gas Station Proprietor: Gene Jones
• “Managerial” Victim: Myk Watford
• “Managerial” Victim: Boots Southerland
• Desert Aire Manager: Kathy Lamkin
• Cabbie at Bus Station: Johnnie Hector
• Del Rio Motel Clerk: Margaret Bowman
• Boot Salesman: Thomas Kopache
• Cabbie at Motel: Jason Douglas
• Waitress: Doris Hargrave
• Gun Store Clerk: Rutherford Cravens
• Sporting Goods Clerk: Matthew Posey
• Mexican in Bathtub: George Adelo
• Hitchhiking Driver: Mathew Greer
• Nervous Accountant: Trent Moore
• Hotel Eagle Clerk: Marc Miles
• Pickup Driver: Luce Rains
• Border Bridge Youth: Philip Bentham
• Border Bridge Youth: Eric Reeves
• Border Bridge Youth: Josh Meyer
• Flatbed Driver: Chris Warner
• INS Official: Brandon Smith
• Well Dressed Mexican: Roland Uribe
• Chicken Farmer: Richard Jackson
• Boy on Bike: Josh Blaylock
• Boy on Bike: Caleb Landry Jones
• Odessa Cabbie: Dorsey Ray
• Norteño Band: Angel H. Alvarado Jr.
• Norteño Band: David A. Gomez
• Norteño Band: Milton Hernandez
• Norteño Band: John Mancha
• Cab Driver (uncredited): Scott Flick
• El Paso Deputy (uncredited): Albert Fry Jr.
• Bus Passenger (uncredited): Angelo Martinez
• Coffee Shop Customer (uncredited): James Rishe
• Nurse (uncredited): Elizabeth Slagsvol

Film Crew:

• Camera Operator: Roger Deakins
• Set Decoration: Nancy Haigh
• Producer: Joel Coen
• Producer: Ethan Coen
• Original Music Composer: Carter Burwell
• Casting: Ellen Chenoweth
• Producer: Scott Rudin
• Production Design: Jess Gonchor
• Executive Producer: Mark Roybal
• Costume Design: Mary Zophres
• Sound Re-Recording Mixer: Skip Lievsay
• Special Effects Coordinator: Peter Chesney
• Sound Re-Recording Mixer: Craig Berkey
• First Company Grip: Dave Childers
• Colorist: Bruce Goodman
• Music Editor: Todd Kasow
• Second Unit Director of Photography: Paul Elliott
• Executive Producer: Robert Graf
• Novel: Cormac McCarthy
• Associate Producer: David Diliberto
• Location Casting: Jo Edna Boldin
• Sound mixer: Peter F. Kurland
• Production Accountant: Cheryl Kurk
• Script Supervisor: Thomas Johnston
• Dolly Grip: Bruce Hamme
• Casting Associate: Rachel Tenner
• Assistant Editor: Katie McQuerrey
• Assistant Art Director: Deborah Jensen
• Additional Casting: Tracy Kilpatrick
• Assistant Costume Designer: Jenny Eagan
• Script Supervisor: Mamie Mitchell
• Second Assistant Director: Peter Dress
• Art Department Coordinator: Roberta Marquez Seret
• Art Direction: John P. Goldsmith
• Stunt Coordinator: Jery Hewitt
• Costume Supervisor: Lori DeLapp
• Makeup Department Head: Jean Ann Black
• Visual Effects Supervisor: Vincent Cirelli
• Set Costumer: Lisanne Scafine
• Sound Re-Recording Mixer: Greg Orloff
• Still Photographer: Richard Foreman Jr.
• Chief Lighting Technician: Chris Napolitano
• Unit Publicist: Louise Spencer
• Key Costumer: Aleah Ames
• Visual Effects Producer: Glenn Morris
• Hair Department Head: Paul LeBlanc
• Payroll Accountant: Todd Spears
• Assistant Sound Editor: Joel Dougherty
• Set Dresser: Quentin Matthys
• Wigmaker: Teresa Valenzuela
• Assistant Chief Lighting Technician: Bryan Booth
• Casting Assistant: Marie A. Kohl
• Production Supervisor: Karen Ruth Getchell
• First Assistant Camera: Josh Blakeslee
• Casting Associate: Amelia Rasche McCarthy
• Production Coordinator: Rachael Lin Gallaghan
• Dialogue Editor: Byron Wilson
• Key Rigging Grip: Charley Gilleran
• Camera Operator: Andy Graham
• Transportation Coordinator: Timothy P. Ryan
• Transportation Captain: Edward Lassak
• Digital Color Timer: Michael Hatzer
• First Assistant Camera: Andy Harris
• First Company Grip: Mitchell Andrew Lillian
• Chief Lighting Technician: Scott Kidner
• Rigging Grip: Gary Kangrga
• Grip: Rick Marroquin
• Assistant Chief Lighting Technician: Ron Alexus
• Costumer: Christine Hawes
• Rigging Grip: Hank Herrera
• First Assistant Camera: Thomas Bango
• Grip: Jeff Lomaglio
• Electrician: Louis Nelson
• Second Assistant Camera: Liza Bambenek
• Story Editor: Narges Takesh
• Costumer: Delia Hauser
• Second Company Grip: Paul Candrilli
• Travel Coordinator: Mimi N. McGreal
• Production Secretary: Jennifer Mancuso
• First Assistant Accountant: Karen Yokomizo
• Set Dresser: Sage Emmett Connell
• Digital Intermediate Producer: Michael Kennedy
• Additional Hairstylist: Debra Clair
• Electrician: Jamie Garcia
• Electrician: George Greene
• Electrician: Tommy Kelii
• First Assistant Camera: Chris Mack
• Grip: Asa-Luke Twocrow
• Grip: Peter Weidenfeller
• Rigging Grip: Daniel ‘Lee’ Andres
• Rigging Grip: Jim Threadgill
• Casting Assistant: Kathryn Schuetze
• Production Coordinator: Gabriel Pérez
• Second Assistant Accountant: Melissa Wiseman

Movie Reviews:

• NETFLOWERS: No Country for Old Men (2007)
  Another great one from the Coen Brothers
  27 January 2009 – 3 out of 3 users found this review helpful.
  INSTANT CLASSIC.: YES, this film is as good as the critics say. YES, the performances are as good as the Academy says. NO COUNTRY FOR OLD MEN is one of my favorite films and I have watched it many, many times. Javier Bardem, makes an excellent screen villain, this guy is really scary, you would not want him chasing you. Josh Brolin, and Tommy Lee Jones turn in Solid Performances, and Woody Harrelson also. I’m saving my praise for KELLY MACDONALD, one of my favorite actors. KELLY nails that southern accent. which is always surprising because her speaking voice is so Scottish, she does not have a lot of screen time but when she is on screen, you will know, you are watching a great performance. I absolutely give NO COUNTRY FOR OLD MEN <> Ten Stars 10**********
• Taha: I literally liked the Movie. Its story is outstanding and innovative. However, I wish the ending was more of action scenes than dialogues.
  Not to forget that Javier Barden’s acting is breathtaking and marvelous. His smile 4:49 is petrifying!
• John Chard: I always figured when I got older, God would sorta come inta my life somehow. And he didn’t. I don’t blame him. If I was him I would have the same opinion of me that he does.

  No Country for Old Men is directed by Joel Coen and Ethan Coen, and the Coen’s adapt the screenplay from Cormac McCarthy’s novel of the same name. It stars Tommy Lee Jones, Javier Bardem, Josh Brolin, Woody Harelson, Javier Bardem and Kelly Macdonald. Music is by Carter Burwell and cinematography by Roger Deakins.

  When a hunter stumbles upon the bloody aftermath of a drug deal gone wrong, he decides to make off with cash left at the scene, that violence and life threat will follow from here on in…

  Not quite the genius masterpiece some would have you believe, this is however and decidedly dark, sombre, gothic type thriller with noir shadings. The ultimate message slowly pulsing away is one of how making a fateful decision can shape the course of many people’s lives, with fate ready at various junctures to trip you up.

  The Coen’s and McCarthy are not in it to offer hope for a better world, this really is a life stinks and is evil narrative, none more so than portrayed by Bardem’s chilling psycopath. The unpredictable nature of the story keeps things on the high heat, even as Deakins brings beauty via his colour photography, his teaming with the Coen’s brings visual smarts.

  The screenplay is tightly formed, giving the actors something great to work with, and as they respond in kind, while we the audience are drawn in close to the slow burning madness. It definitely finds the brothers Coen returning to their best, as they take McCarthy’s melancholic machismo and drip their self aware irony over proceedings.

  The finale lacks a punch, and in fact it’s a little boorish, while this narrative has been done well before in film noirs of the original wave – so it’s not as fresh and exciting to us more mature film lovers. Yet it’s still a great piece of film making, the like we could do with more regularly. 9/10

  , gorgeously photographed by longtime Coen associate Roger Deakins, and genuinely smart, but its insights boil down to “Whichever way you turn, fate sticks out a foot to trip you,” and DETOUR (1945) got there first.

• Peter McGinn: I watched this for the first time with a few friends as part of an ongoing movie night we shared. I think it was the most violent film we watched together. The plot is taut and somewhat riveting, with great dialogue and acting. At the same time, for me, it seemed rather bleak. I gradually had the sense it would not end well for nearly anybody. If it weren’t for the Tommy Lee Jones character, I am not sure I would have wanted to stick with it. He provides a sort of balance in the mood of the film. I am not a big fan of movies with super criminals. You know the ones — they seem to always be one step ahead of the hero or the authorities, free to run roughshod until that are defeated at the very end of the movie, if at all. Woody Harrelson delivers another one of his stellar performances. Who knew he would be so good very early on in his career?

  Oddly enough, No Country for Old Men caused metaphorical violence to our movie watch group, as there was an exchange that caused us to watch no more films together. Powerful stuff.