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• No Country For Old Men marks Coen Brothers' return

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This photo provided by Miramax Films shows Javier Bardem in a scene from "No Country For Old Men." (Richard Foreman, Miramax Films)

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The Coen brothers had been relatively quiet early on in the 2000s. Starting out with a bang (Oscar-nominated O Brother, Where Art Thou? in 2000), the string of films that followed seemed to be either disappointing (The Ladykillers, 2004) or under the radar (Intolerable Cruelty, 2003). But in 2007, the brothers reaffirmed their status as an American filmmaking powerhouse with the superb, No Country for Old Men.

The then fairly under-recognized Josh Brolin and Javier Bardem took to the screen fully embodying their clashing characters (the gritty Llewelyn Moss and brutal Anton Chigurh respectively) on the beautifully painted canvas of the American southwest. Based on the novel by Cormac McCarthy, the film portrays the harsh and unkind West McCarthy uses often. Antagonist Anton provides the audience with a sick paradox; we find ourselves wanting to know more and end up horrified every time we catch a glimpse. He seems both a symbol of fate and an embodiment of chance, changing lives with the toss of a coin and pushing us to consider the choices we make, whatever they may be.

The aplomb of the sheriff (Tommy Lee Jones) helps us to navigate our way through the plot’s complexities and the horrified confusion of the townsfolk gives us those with whom to identify, sharing their puzzlement and their fear. The film asks us to question the world we live in yet provides us with no answers. No Country for Old Men seems to look deeply into human greed, truth and at fate, and for this it surely deserves a place ranking it among the best of the best.