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NO COUNTRY FOR OLD MEN clips online! Thanks website du Cannes!
Ahoy, squirts! Quint here. This is awesome. I love it when Cannes rolls around. Maybe next year I'll get to go experience it myownself. In the meantime, here are 5 clips from the new Coen Bros. flick! Enjoy!
CLICK IT HERE FOR SOME GOOD STUFF!!!
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yup.
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Wow, I've been promoted!
Loo-ooove the Coens. Let's hope this marks a return to the classics. -
I simply cannot wait for this movie to come out. I love the hell outta me some Coens, and its been too long! The Bros. are supposed to be back in rare form so hurry up No Country, this old man can't wait to visit!
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I feel for you, I really do.
IT'S THE FLUX CAPACATOR!!! -
Bruno Mattei died.
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I wasn't thinking of those exact lines but I was thinking about that same scene in the store..."eight Mississippi, nine Mississippi..."
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I was really #th
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FIRST!!!!
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do i?
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but the head or tails one was hilarious!
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only fifth...
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First Pitje was first (6AM), then henrydalton (4AM)?!? WTF???
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eigth.
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The one with the coin...who else was thinking..."Do these b'loons blow up into funny shapes n'all?" "Well, no. Not unless round is funny..."
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This looks wonderful.
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holy shit. holy shit. holy shit.
Holy shit.
So. Good. -
i hear Javiar Bardem is totally nuts in this, to me he's the best one around these days. he sure cant talk english though.
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Seriously, I hope they knocked this mutha out of the park. It looks fantastic.
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Looks like a return to the form of Blood Simple, great cast, Bardim is superb.
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Looks like vintage Coens, but stopped watching after the second clip because I realised it looks like vintage Coens and deserves to be seen unspoiled. Welcome back Joel and Ethan.
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Great fucking scenes! That's the kind of well-written, oddly charactered drama the Coens excel at. More "Miller's Crossing" than the weakass "The Ladykillers." Good to see Joel and Ethan get down and dirty again.
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Please prove to me that Catherine Zeta Jones did not drain you of your talent. I know she is the foulest evil and her powers are great - and that you have been creatively wounded since you tangled with her, limping and wimpering along like lame dogs - but I believe if anyone can overcome the curse of 'She Who Used To Be Welsh', it's the two of you.I have faith in you, Jimmy and Johnny Coen.
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I swear to you guys, I was first... Ah well, 9th is also a cool number...
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I need to know so I can fall in line.
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not sure what everyone else is seeing, looks very uninspired and frankly boring to me. shame. strange how that border country can be filmed so blandly... too many quick cuts with dialogue, hurrying to the next person's face like xmen 3. i would rather something a little better paced in those scenes, especially for the guy playing chigurh who looks, sounds, and acts about as threatening as a hipster uncle. or patrick troughton in the omen. gahh!
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Starring Josh Brolin! C'mon, you know you want it. "No Country For Old Men" is on my must-see list.
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Bruno Mattei died? Where the hell's his obituary? Harry? Moriarty? ...Quint? Let's pay some respect to the godson of gore. That is all.
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The guy's amazing. Just watch that coin toss scene. And the phone call scene. Then see "the Sea Inside." He doesn't have to move to be incredibly compelling. Anyway, I still won't pay for a ticket at the theater for this because of the stupid Southern drawls (my bias, hate the South and their dumb accents) and Josh Brolin, the "best bland" actor around. Yeah, he's a competent actor, but can you really be a FAN of his? Bland city.
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..is terribly edited, he speaks regularly the first time he asks about the coin toss and suddenly develops a lisp/denture whistle the 2nd time. the cuts from the front to the back of his head are all out of whack too, chewing gum suddenly, looking down suddenly, looks lazy
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Don't feed trolls. It only encourages them.
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I'm really excited about this. Cohen Bros. and Cormac McCarthy makes so much sense, I don't know why it hasn't happened sooner.
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wasn't on my radar until Grindhouse - but he is looking like the good shit.
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and Javier Bardem should be the bad guy in every movie from here on.
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from Cannes film fest:
please post Harry)
Last night we sat down for perhaps our most anticipated movie of the festival, even though we'd (arguably) seen it before and read the full script before Christmas. That film was Quentin Tarantino's Death Proof, taken out of its cosy Grindhouse home and shown here in its full two-hour format, complete with a new French title: Boulevard De La Mort! After the debacle following the double bill's release in the US we must admit to feeling slightly nervous, after all, Cannes was where QT's rise to cult status started (with Reservoir Dogs and Pulp Fiction), and we couldn't help feeling he was heading for a fall by insisting on a Competition slot, in the hope of securing a rare Palme D'Or double whammy.
We needn't have worried. Those who saw the "Joseph Brenner & Associates" redux cut will see that all the scenes that seemed to be missing really do exist and have been slotted back in accordingly – principally with Stuntman Mike (Kurt Russell), the psycho fall guy who gets his kicks by running purty ladies off the road and into their graves. In its finished form, Death Proof still retains some of the Grindhouse trimmings: there are blips and scratches, and there's even an entire sequence in black and white, but far from being distracting, these details become integral to the atmosphere – Death Proof is a teasing film from back in the day but made now, causing a neat disjunction between the conventions of the story and the modernity of its characters (with the exception of Mike, of course, but we'll come to that later).
Much has been made – here at least – of this being Tarantino's most linear film yet, which is true… ish. Death Proof is a film of two halves, but it's by no means a portmanteau. Half of the fun is in Tarantino's manipulation of our expectations; from the title alone and the lurid poster ("These 8 Women Are About To Meet 1 Diabolical Man!"), we're expecting something dark, so, Tarantino's own slasher-movie talk notwithstanding, its tempting to read this solely as a serial-killer flick. But like Jaws, Death Proof is a film about anticipation, and after a menacing Jack Nitzsche-scored credit sequence the film takes its time getting these girls done with. The flavour here is female, as Austin DJ Jungle Julia (Syndey Poitier) reunites her girl posse and celebrates her birthday with a night on the town. Mike is circling them but Tarantino takes his time, and the film really benefits from more time with Vanessa Ferlito as Arlene, the typical ‘last girl standing' from slasher lore. It's only Arlene that gets the measure of Mike's madness, but in true grindhouse style her gorgeous foreboding all but flies out of the window when the film suddenly lurches from horror pic to sleazerama, with a great barroom lap dance that leaves audiences and Mike alike grinning from ear to ear.
We'll skip what Mike gets up to later: suffice to say that Mr Icy Hot is nice, not, but the real revelation of the new, long version is what happens in the second half. Although some of the controversial lengthy dialogue scenes remain untouched, Tarantino has reinstated scenes that introduce a second girl group and takes more time establishing Mike's interest in the new arrivals, which adds a whole new dynamic, like a purring engine, revving quietly while the director indulges his trademark love of dialogue. Two other elements have been added here: more screentime for Abernathy (Rosario Dawson) and, later, in the film's powerhouse home run, Kim (Tracie Thoms), with scenes that round out their characters so much, by the time they and their stuntgirl friend Zoe (Zoe Bell “as herself”) become a Switchblade Sisters/Truckstop Women-style rampage of revenge, the previously rushed transition suddenly seems scarily plausible.
Full plaudits go here, of course, to Kurt Russell, who motors through the film with a deceptively subtle brilliance, portraying Mike as, alternately, a dope, nice guy, a washed-up hasbeen, a cool guy and a pussy – like Javier Bardem in the Coens' No Country For Old Men, this is about to become one of the definitive movie crazies. But however attached we get to Stuntman Mike, Tarantino's not allowing us to get too close, and with the final, euphoric ending he subverts the slasher-flick formula with a bravura climax that sent the Cannes audience whooping and clapping into the night. OK, one person booed, some older people moaned, and a woman from Turkey didn't get it AT ALL. But Death Proof is the film it set out to be, the film Tarantino had in his mind on the day we watched him shoot it. This is seriously entertaining American filmmaking in its prime and most definitely not the only-half-serious pastiche it could have been. There's no seatbelt, nor airbag, no nuthin', this is just Tarantino driving wildly under the influence. Just hang on and take the ride.
cinema-online.org
http://cinema-online.org -
the criticism stands, plain as the nose on your face mihole. i was looking forward to a good mccarthy adaptation, no matter who did it. this doesn't have the appearance of that - dunno how anyone could consider that guy an apt chigurh if they'd read the book. too bad
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who's got the vendetta now, sweetness? at least I wait for you to post something moronic before I rip you a new boyfriend-hole.man, you probably even hate The Big Lebowski...
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Those 5 clips had me at "Agua". Take the snow outta Fargo...add a desert...some dead Mexicans...and some awesome casting...snappy-crisp dialog...the wind as its sountrack....The Coen boys are gonna be placing another tiny gold dude on their mantle...and probably another Golden Palm. Glad to see Brolin getting the Tarantino/Travolta makeover. I could watch Jones read a phone book. And this Javier Bardem guy...is gonna take Lechter's place as the film world's most disturbed psychopath. Count me in.
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..for a movie in a long time.
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The Coen Bros. have a switch: Serious crime drama/Screwball comedy. I think we know which way the switch is flipped here. Very promising.
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I'm calling it early.
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I'm sorry.
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