Ignorant souls will probably tell you that No Country for Old Men is a film about bloodlust, material wealth and a sheriff's investigation. Those who suggest this, however, are the same ones who listen to their weekly dose of Big Brother: The Evictions and are influenced by the words of their local car salesman. The Coen brothers' masterful 2005 adaptation of Cormac McCarthy's No Country for Old Men is a landmark moment in recent cinematic history, setting aside this year's Transformers sputtering by explosion-addicted Michael Bay. Taking a different approach from their usual offbeat comedy films littered with three profanities (hint: Burn after Reading fans of Osbourne Cox), the Coens have managed to embark on a dark and deeply disturbing drama that questions the foundations the very same of the American dream. Country for Old Men, sees Texas Everyman Llewellyn Moss (Josh Brolin) come across a bag of cash after a drug shootout in Mexico. His decision to abscond with the money sets off a vicious chain reaction with Mexican drug lords and American businessmen hot on his trail while lonely and disillusioned Sherriff star Ed Tom Bell (Tommy Lee Jones) attempts to reach and warn Moss of his impending fate. A more sinister force, one with no interest in money itself, takes the form of Anton Chigurh (Javier Bardem), a sociopath who rivals The Terminator for its robotic and artificial undertones. These three are locked in a game of cat and mouse. pursuit that takes them through the empty battlefields and lonely motels of a flyover state in the 1980s. Always one step apart, the three men rarely appear together on screen; their stories follow the same curve but differ by their respective tangents. As a collective, these three... middle of paper ...... an unexpected car accident that appears to be caused by some sort of retribution windfall. Fate leads to the final scene in Sheriff Bell's residence. Speaking to his wife, the now retired sheriff talks about his dreams. Throughout the film, Bell has spoken of his disillusionment with the contemporary world – the breakdown of morality and the revelation of the devil within – and he does not disappoint here. Describing the death of his father, Bell, using the dream as a metaphor for death, emphasizes the decadent disorder that society has become, but even more so the death of tradition and the old way of life. The life he knew. And the minutes pass, leaving behind disturbing ideas about the bloody and absurd intransigence of fate and the noble futility of human efforts to master it. But above all, No Country for Old Men leaves behind