Variety’s Todd McCarthy called it “a scorching blast of tense genre filmmaking shot through with rich veins of melancholy, down-home philosophy and dark, dark humor.” The Hollywood Reporter, for its part, was less impressed: “Plot holes, cracker-barrel philosophizing and setting a major climactic scene offscreen serve to undo all fine work.” The film, of course, went on to earn exemplary reviews when it was released theatrically in November - New York’s David Edelstein called it “a near-masterpiece” and Roger Ebert declared it “as good a film as the Coen brothers, Joel and Ethan, have ever made, and they made Fargo” - and, a few months later, it won the Oscar for Best Picture, beating out the similarly venerated There Will Be Blood. When No Country for Old Men, the Coen brothers’ adaptation of the novel by Cormac McCarthy, screened at the Toronto Film Festival in September 2007, it arrived on a wave of sustained, if not unanimous, praise after its spring debut at Cannes.
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