10. Llewellyn Moss Vs. Anton Chirgurh - No Country For Old Men
Those Coen Brothers sure know how to be clever, and jumping the narrative from the desperate adventures of Llewellyn Moss to him just being stone-cold dead was an excellent narrative sucker-punch. Yet glorious as it was, that's the thing about sucker-punches they leave you feeling sucker-punched. Terrible description aside, the point of the narrative device is that it hits you in the face with a sudden anti-climax, and seeing Moss get suddenly gazumped works a treat. Really, it's effective because it robs us of two potential scenes that might've been awesome. Firstly, it's gutting we don't get to see the final situation that finally beats No Country's quick-thinking but luckless protagonist, and secondly, we're robbed of seeing Anton Chirgurh continue his murder conga through Texas. Both scenes may have been dramatic gold, but once again, their omission serves a necessary purpose, and the shock of Moss being erased from the narrative so ingloriously and abruptly certainly sticks with me. Still, one can't help but wonder that maybe it may have been cool to see Moss' final moments after all, we're already invested in him, so finally seeing him meet his maker could've been extremely memorable.