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Boule', Jean-Pierre; McCaffrey, Enda (2009), Existentialism and Contemporary Cinema: A Sartrean Perspective, Berghahn Books, ISBN 978-0-85745-320-4

Monaco, 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 In an interview with Logan Hill of New York magazine, Brolin said, "We had a load of fun making it. Maybe it was because we both [Brolin and Javier Bardem] thought we'd be fired. With the Coens, there's zero compliments, really zero anything. No 'nice work.' Nothing. And then—I'm doing this scene with Woody Harrelson. Woody can't remember his lines, he stumbles his way through it, and then both Coens are like, 'Oh my God! Fantastic!'" [44] Rescripting the Western in 'No Country for Old Men', by Sergio Rizzo, January 14, 2011, PopMatters.com–PopMatters Media 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]Jim Emerson describes how the Coens introduced Chigurh in one of the first scenes when he strangles the deputy who arrested him: "A killer rises: Our first blurred sight of Chigurh's face ... As he moves forward, into focus, to make his first kill, we still don't get a good look at him because his head rises above the top of the frame. His victim, the deputy, never sees what's coming, and Chigurh, chillingly, doesn't even bother to look at his face while he garrotes him." [65] Young, Alison (2010), The Scene of Violence: Cinema, Crime, Affect, New York, NY: Routledge, ISBN 978-0-415-49071-9 a b "No Country for Old Men (2007) – International Box Office Results". Box Office Mojo . Retrieved December 23, 2007. Vaux, Rob. "No Country for Old Men Movie Review". Flipside Movie Emporium . Retrieved April 27, 2014. Conard, Mark T. (2009), Part 2, Chapter: No Country for Old Men As Moral Philosophy, p. 163, by McFarland, Douglas.

Olson, Danel (2011), 21st Century Gothic: Great Gothic Novels Since 2000, Lanham, MD: Scarecrow Press, Inc., ISBN 978-0-8108-7728-3The film appeared on more critics' top ten lists (354) than any other film of 2007, and was more critics' No. 1 film (90) than any other. [130] [131] Disputes [ edit ] Killing Joke: The Coen brothers' twists and turns, by David Denby, February 25, 2008, The New Yorker 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 ] Hunter, Stephen (November 9, 2007). " 'No Country for Old Men' Chases Its Literary Tale". The Washington Post. Croce, Fernando F. (November 24, 2007). "Go to Bed, Old Men: Dead Perfection Vs. Messy Aliveness". Cinepassion.org.