Version Details

Cast

• Kelly MacDonald
• Kelly MacDonald - Carla Jean Moss
• Garret Dillahunt
• Garret Dillahunt - Wendell
• Ana Reeder - Poolside Woman
• Javier Bardem
• Javier Bardem - Anton Chigurh
• Rodger Boyce - El Paso Sheriff
• Josh Brolin
• Josh Brolin - Llewelyn Moss
• Barry Corbin - Ellis
• Beth Grant - Carla Jean's Mother
• Tess Harper
• Tess Harper - Loretta Bell
• Woody Harrelson
• Woody Harrelson - Carson Wells
• Tommy Lee Jones
• Tommy Lee Jones - Ed Tom Bell
• Stephen Root
• Stephen Root - Man Who Hires Wells
• Zach Hopkins - Strangled Deputy
• Chip Love - Man In Ford
• Eduardo Antonio Garcia - 'Agua' Man
• Johnnie Hector - Cabbie at Bus Station
• Mathew Greer - Hitchhiking Driver
• Trent Moore - Nervous Accountant
• Philip Bentham - Border Bridge Youth
• Josh Meyer - Border Bridge Youth
• H. Roland Uribe - Well Dressed Mexican
• Richard Jackson - Chicken Farmer
• Josh Blaylock - Boy On Bike
• Angel H. Alvarado, Jr. - Norteņo Band
• David A. Gomez - Norteņo Band
• Milton Hernandez - Norteņo Band
• John Mancha - Norteņo Band
• Jason Douglas - Cabbie at Motel
• Caleb Jones - Boy On Bike
• Marc Miles - Hotel Eagle Clerk
• Matthew Posey - Sporting Goods Clerk
• Boots Southerland - 'Managerial' Victims
• Doris Hargrave - Waitress
• Dorsey Ray - Odessa Cabbie
• Kit Gwin - Sheriff Bell's Secretary
• Margaret Bowman - Del Rio Motel Clerk
• Rutherford Cravens - Gun Store Clerk
• Chris Warner - Flatbed Driver
• Kathy Lamkin - Desert Aire Manager
• Myk Watford - 'Managerial' Victims
• Gene Jones - Gas Station Proprietor
• Brandon Smith - INS Official
• George Adelo - Mexican In Bathtub
• Woody Harrelson - Carlson Wells
• Luce Rains - Pickup Driver
• Tommy Lee Jones - Sheriff Ed Tom Bell

Crew

• First Assistant Director: Betsy Magruder
• Sound/Sound Designer: Peter Kurland
• Casting: Ellen Chenoweth
• Art Director: John Perry Goldsmith
• Costume Designer: Mary Zophres
• Second Unit Camera: Paul Elliot
• Second Unit Director Of Photography: Paul Elliot
• Re-Recording Mixer: Craig Berkey
• Sound/Sound Designer: Craig Berkey
• Supervising Sound Editor: Skip Lievsay
• Re-Recording Mixer: Skip Lievsay
• Executive Producer: Mark Roybal
• Supervising Sound Editor: Skip Livesay
• Production Designer: Jess Gonchor
• Book Author: Cormac McCarthy
• Re-Recording Mixer: Greg Orloff
• Associate Producer: David Diliberto
• Producer: Scott Rudin
• Executive Producer: Robert Graf
• Composer (Music Score): Carter Burwell
• Producer: Ethan Coen
• Screenwriter: Ethan Coen
• Director: Ethan Coen ,Joel Coen
• Screenwriter: Joel Coen
• Producer: Joel Coen
• Cinematographer: Roger Deakins
• Second Unit Director Of Photography: Paul Elliott
• Set Decorator: Nancy Haigh
• Stunts Coordinator: Jery Hewitt
• Second Unit Director: Jery Hewitt
• Editor: Roderick Jaynes
• Casting: Jo Edna Boldin
• Editor: Roger Deakins
• Set Designer: Nancy Haigh
• Makeup Special Effects: Christien Tinsley

Related Movies

• All the Pretty Horses - DVD
• The Three Burials of Melquiades Estrada - DVD

No Country for Old Men: AMG Review
Perry Seibert , AMG

No Country for Old Men, the darkest, bleakest film yet by Joel and Ethan Coen, manages to be both an unsettling thriller and a statement of great concern for the future. As has always been the case with Joel and Ethan's work, the movie is cast to perfection. Javier Bardem's personification of psychotic evil fills the screen with an unflinching power -- it's as impossible for the audience to look away from him as it is for his victims to get away from him. Josh Brolin plays the Vietnam veteran who kick-starts the plot with a perfect mix of practicality, durability, and quiet desperation. You can believe he's seen enough horrible things during his years in the military that he's willing to go toe-to-toe with someone as malignantly evil as Bardem's remorseless killer. As Brolin's wife, Kelly MacDonald serves up a vivid, tragic character with very little screen time. Tommy Lee Jones centers the film as a Texas sheriff who notes early on that the old-timers never even wore a gun on the job. He longs for a time like that, and although he is a man not prone to emotional displays, his recognition of the horrors he sees registers in unmistakable ways. The Coens build the tension like the masters that they are, often going minutes without any dialogue. What sets this film apart from their others is the refusal to let their comedic impulses temper the material. As always, they get chuckles out of the Texas patois, and there are characters on the fringe who stick in the memory because of their distinct speaking patterns. However none of the levity breaks from the remarkably serious intentions or tone. The one scene Kelly MacDonald shares with Bardem echoes the final confrontation between Frances McDormand and Peter Stormare in Fargo. But where that film offered some hope, some sense that there is an essential rightness in the world worth preserving, No Country is about the world we know coming to an end. Those expecting a pure genre film may be taken aback by the final act, especially since the first 100 minutes rank as an expert thriller. Consisting primarily of extended dialogue scenes, save for one last shocking act of violence, the closing passages of the film underline the themes that Jones' character lays out in the movie's opening voice-over. In Fargo, Margie grieved because she realized not everyone has the simple decency not to kill. No Country for Old Men is an expression of mourning for a world that seems to have lost any semblance of decency or order. ~ Perry Seibert, All Movie Guide