As requested, here's an entry for the critics' darling that seems like the current front-runner for Best Picture. I've seen it once, a few weeks ago, and liked it quite a bit - it's just about perfect in terms of suspense, performances, cinematography, the dialogue is sharp without being too self-conscious as the Coens have done from time to time, etc.
I don't know what I really think about the ending - I need to see it a second time to make sure. Thematically it certainly makes sense that the movie is bookended by Tommy Lee Jones talking about how he perceives law and order in his corner of the world and how people have changed over time. That said, the abruptness of the climax (or anticlimax if you prefer) is indeed a speed bump, a major seam that may work better in theory and in intellectual terms than in emotional, movie-watching terms. I guess what I'm saying is that it's one thing for the ending to 'make sense' but in addition it's best if the ending also feels proportional and organic to what has come before, integrated seamlessly in Aristotelian terms to the movie as a whole. A truly great film shouldn't need elaborate intellectual justifications to make sense, and I need to verify if No Country for Old Men is a truly great movie or only a very good one.
The other thing I want to talk about is one of my favorite sections of the movie, and one which also serves as the movie in a microcosm - the scene in which Josh Brolin outruns and outswims the dog. I like this a lot because it's suspenseful and it's funny at the same time - a lesser movie would have had the chasing dog be some kind of hellhound, an evil doberman or something that we're meant to be afraid of. The Coens, instead, chose a pit bull, and a pretty friendly-looking one at that - it's a good dog that just happens to have the job of chasing down those people its master deems in need of chasing. The incongruity and the dog's single-minded pursuit gives the chase an extra dimension, and the dog is just doing what it's supposed to do the same way that Anton Chigurh or Llewelyn Moss find themselves programmed into a collision course after their initial actions.