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a b c Lim, Dennis (January 6, 2008). "Exploiting Sound, Exploring Silence". New York Times . Retrieved March 25, 2012.

David Gritten of The Daily Telegraph wonders: "Are the Coens finally growing up?" He adds: "If [the film] feels pessimistic, Joel insists that's not the Coens' responsibility: 'I don't think the movie is more or less so than the novel. We tried to give it the same feeling.' The brothers do concede, however, that it's a dark piece of storytelling. 'It's refreshing for us to do different kinds of things,' says Ethan, 'and we'd just done a couple of comedies.'" [45] Musical score and sound [ edit ] Corliss, Richard (December 9, 2007). "Top 10 Everything of 2007". Time. Archived from the original on February 27, 2010. National Board of Review: 'No Country for Old Men' Best Film of '07". Fox News Network. Associated Press. December 5, 2007 . Retrieved April 30, 2012. Coyle, Jake (December 10, 2007). "New York Film Critics choose 'No Country for Old Men' ". USA Today . Retrieved December 22, 2007. While I didn't love this movie (and don't understand how it won Best Picture), I appreciate enough about it to say it's worth watching if you have the patience. While Westerns aren't really my thing, No Country for Old Men is fine.

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Young, Alison (2010), The Scene of Violence: Cinema, Crime, Affect, New York, NY: Routledge, ISBN 978-0-415-49071-9 The 100 Greatest Movies Of The 21st Century". Empire. March 18, 2020. Archived from the original on August 17, 2021 . Retrieved August 18, 2023. Andrew Sarris (October 23, 2007). "Just shoot me! Nihilism Crashes Lumet and Coen Bros". Observer.com. Archived from the original on October 25, 2007 . Retrieved September 14, 2010. a b c d e Conard, Mark T. (2009), The Philosophy of the Coen Brothers, Part 1, Chapter: "No Country for Old Men: The Coens' Tragic Western", by Gillmore, Richard. When the film continues far beyond the point that the expected narrative structure breaks down, viewers are left to grasp at what the film is actually about. What, if anything, is this film trying to say?

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 (1996), which ... is also a crime story with a decent small-town sheriff as its central character. Joel sighs. 'I know. There are parallels.' He shakes his head. 'These things really should seem obvious to us.'" [45] In addition, Ethan Coen states that "we're not conscious of it, [and] to the extent that we are, we try to avoid it. 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." [73] Both book and movie offer glimpses of a huge, mysterious pattern that we and the characters can't quite see– that only God could see, if He hadn't given up and gone home." Burr, Ty (November 9, 2007). "The Coen brothers' cat and mouse chase in the sweet land of liberty". The Boston Globe . Retrieved December 21, 2007.

a b c Turan, Kenneth (May 18, 2007). "Coens' Brutal Brilliance Again on Display". Los Angeles Times. New York Times critic A. O. 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." [63]

Killing Joke: The Coen brothers' twists and turns, by David Denby, February 25, 2008, The New YorkerMonaco, Paul (2010), A History of American Movies: A Film-by-Film Look at the Art, Craft, and Business of Cinema, Lanham, Maryland: Scarecrow Press, ISBN 978-0-8108-7433-6