The other review of NCFOM that I've needed to think about is Jonathan Rosenbaum's for the Chicago Reader. He writes:
The picture of human nature in No Country for Old Men is...so bleak I wonder if it must provide for some a reassuring explanation for our defeatism and apathy in the face of atrocity. I admire the creativity and storytelling craft of the Coen brothers, but I can’t for the life of me figure out what use they think they’re putting that creativity and craft to. As I left the screening in Toronto, all I could think was, “America sure loves its mass murderers.”
This is pretty well unanswerable. I still think it's a great movie and for me that means it's considerably more than a triumph of perfect style over morally indefensible substance. On the other hand those fervent justifications of the film which appeal to a Jansenist conception of destiny, damnation, and the inescapable agency of Evil in the world sometimes seem to me to confirm Rosenbaum's suspicions. But. There's still something else, something less didactic and more authentically strange, justifying and underwriting the film. See Wood's last line for his effort to identify what it is. But it's possible too that I just think that because the movie is so free of other kinds of cant and trumpery.