<p>I haven’t read the book yet, but have read other Cormac McCarthy novels (the Border Trilogy books and “The Road” so far). Anyone familiar with his work wouldn’t expect a happy ending! No, it’s the constant “anticipation” of the next bad thing that is going to happen. “No Country for Old Men” definitely follows that formula. The extreme, cold hearted violence defines the title and it wouldn’t have the same gut wrenching impact without it. (Tommy Lee Jones and Josh Brolin were both very good, but I’m a sucker for a good cowboy type role). Having read other McCarthy work, maybe my expectations were already different when I walked into the theatre.</p>
<p>I’m adding “Blood Meridian” to my must read list.</p>
<p>For unknown reasons the trailers for “There Will Be Blood” totally puts me off. Can’t explain it. Is it really that good?</p>
<p>Oh come on you guys! Sometimes the violence is truly an integral part of the story. I also loved Eastern Promises. So glad Viggo got a nomination. Violence in entertainment and art has been with us forever. Quite a lot of blood in Sophocles, Shakespeare, etc. For that matter, quite a lot of violence and blood in human history and our present. The older I get the less I want to see “feel good” movies. I just don’t feel like I have time for them anymore.</p>
<p>Here, we really liked NCFOM but less so TWBB, because in the former there was more back-and-forth between good and evil forces throughout the film. </p>
<p>Technically both were outstanding. Even though I wouldn’t encourage my Mom to go out to see either one, I thought that the music, acting and cinemetography of TWBB were all top-shelf. It just was hard to experience the story. But what else would I expect to feel from Upton Sinclair and the Robber Barrons? It was interesting and beautifully done; I just didn’t feel uplifted afterwards.</p>
<p>For NCFOM, that was more my speed. I can tolerate more on the widescreen; I actually flip away from violent movies at home, because that’s my home and I want it peaceful. But when I go out, I want to be challenged.</p>
<p>NCFOM feels like a roller coaster. I think if you liked the GOdfather, you’ll also be able to handle NCFOM. I particularly appreciate ensemble acting, and this was a great example of it. There was more redemption throughout this film (unlike TWBB which moves in one direction), so that enabled me to keep with NCFOM emotionally. </p>
<p>I do love movies, always have. Next, I want to see Atonement, which I missed, and Juno perhaps. Curious if anyone’s seen those and has other recommendations?</p>
<p>DH and DS saw NCFOM without me at my suggestion. Neither could see what all the fuss was about and felt I’d made a wise decision. I’m with bethie who didn’t see it, and with great lakes mom, who did.</p>
<p>Atonement was a great disappointment to me. Beginning set a great mood and Keira Knightly’s green dress, fab, but kind of vapid IMO.</p>
<p>I thought I’m Not There fascinating, although flawed, and The Butterfly and the Diving Bell gorgeous.</p>
<p>Watched The Lives of Others and Black Book on demand on TV. OMG. They both blew me away. </p>
<p>I did like TWBB for Daniel Day-Lewis’ performance and the cinematography. Inside the mine, the landscapes, were both magnificent. The movie did get bombastic and silly by the end.</p>
<p>Juno lots of fun. Agree with earlier poster about Michael Clayton. Not much. Ho hum. Seen it before, except for Tom Wilkinson’s performance. Amazing.</p>
<p>I was disappointed in Atonement. The fellow who played the male protagonist (forgetting his name) just didn’t seem to have the physical stature for the role, although I liked him in the movie about Uganda (my memory is not kicking in today). Actually, the movie of Atonement made me decide I don’t really like the book, after all, even though I was so impressed while reading it. The language blew me away, as will all of McKewan’s work, but I decided I don’t go for the refusal to let the story treat good people well and follow a morally pleasing trajectory. Someone wrote about the tendency of modern writers to refuse to give us stories that cut any slack for the characters – Gardner? On Moral Fiction? I feel as if McKewan is just playing with us, making us feel terrible and doing so expertly with his sumptuous language but for no real purpose.</p>