I will listen to that stretch of narration several times; Jones delivers it with a vocal precision and contained emotion that is extraordinary, and it sets up the entire film." In The Village Voice, Scott Foundas writes that "Like McCarthy, the Coens are markedly less interested in who (if anyone) gets away with the loot than in the primal forces that urge the characters forward ... In the end, everyone in No Country for Old Men is both hunter and hunted, members of some endangered species trying to forestall their extinction." Roger Ebert writes that "the movie demonstrates how pitiful ordinary human feelings are in the face of implacable injustice." New York Times critic A. O. Scott observes that Chigurh, Moss, and Bell each "occupy the screen one at a time, almost never appearing in the frame together, even as their fates become ever more intimately entwined." Variety critic Todd McCarthy describes Chigurh's modus operandi: "Death walks hand in hand with Chigurh wherever he goes, unless he decides otherwise ... [I]f everything you've done in your life has led you to him, he may explain to his about-to-be victims, your time might just have come. 'You don't have to do this,' the innocent invariably insist to a man whose murderous code dictates otherwise. Occasionally, however, he will allow someone to decide his own fate by coin toss, notably in a tense early scene in an old filling station marbled with nervous humor." 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." Critic Peter Bradshaw of The Guardian stated that "the savoury, serio-comic tang of the Coens' film-making style is recognisably present, as is their predilection for the weirdness of hotels and motels". But he added that they "have found something that has heightened and deepened their identity as film-makers: a real sense of seriousness, a sense that their offbeat Americana and gruesome and surreal comic contortions can really be more than the sum