Directed by:
Ridley ScottScreenplay:
Cormac McCarthyCinematography:
Dariusz WolskiComposer:
Daniel PembertonCast:
Michael Fassbender, Penélope Cruz, Cameron Diaz, Javier Bardem, Brad Pitt, Bruno Ganz, Rosie Perez, Edgar Ramirez, Natalie Dormer, Dean Norris, Goran Visnjic (more)VOD (3)
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The Counselor stars Michael Fassbender as the title character, a slick lawyer who is madly in love with Laura (Penelope Cruz). He asks her to marry him, and she agrees, though she is unaware that serious financial troubles have prompted him to fund a drug deal with a shady but established middle man (Brad Pitt), that could bring in millions. Part of the counselor's financial troubles stem from the fact that he's investing in a club being opened by his best friend Reiner (Javier Bardem), a hedonist and occasional client who has attained his wealth by any means necessary, and likes to keep his wife (Cameron Diaz) covered in all the accoutrements the wealthy enjoy. However, when the drug deal starts to go wrong, the counselor finds himself unprepared to deal with the fallout, and soon he's trying to protect his bride-to-be as well as himself from the wrath of a drug cartel that has no qualms about exacting revenge. (official distributor synopsis)
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Brad Pitt plays a bastard, Michael Fassbender plays a bastard, Javier Bardem is both a pervert and a bastard. Penelope Cruz is good, especially in the beginning, but on the other hand she is not there that much. Cameron Diaz plays such a bitch that it made me sick. Nevertheless, all the acting performances are great, I just don’t really know who to focus on in order for the movie to appear at least a little bit likeable. This way it is Ridley Scott’s most unpleasant movie for me, and it doesn’t matter that it has an interesting story when I’m not able to enjoy it with these actors.
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The Counselor is a delightfully funny, sexy, meditative, gory, and intelligent film, and for me, one of the most modern of the 21st century. The style, elegance and extravagance of the film shines through. It is also worth mentioning the very solid cast, which features all of my favourite actors. Spoiler: the scene where Cameron Diaz fucks Javier Bardem's car and Brad Pitt's disarming here definitely the biggest highlights of the film! Action 4/10, Suspense 5/10, Gore 7/10, Story 7/10, Atmosphere 6/10.
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I will not stoop to commenting on the senility of Ridley Scott, because there are plenty of users aping similar big-mouthed statements from foreign reviews about last year's Prometheus. That said, it is still true that I am quite disappointed. Not that Ridley forgot how to direct – but that he is simply unrecognizable in The Counselor. It is all just Cormac McCarthy's self-absorbed screenplay, materialized into lazily rolling dialogues, framed by a pretty good side plot and very inconsistently cast. While Michael Fassbender and Brad Pitt carry everything, Cameron Diaz turns out to be a casting misstep unlike any I can remember. Every gesture or word feels forced and wooden, making all the smaller positives (the soundtrack, the action flashes) almost forgotten. Given the creative team, I can't believe I'm stooping so low, but when even I, who easily let myself be captivated by the story, can see through the random fragments to the very end, something is wrong.
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Or: how the best living oversees writer and the best living British director didn’t really see eye to eye in matters of art. Each of them does their own thing regardless of the other. And so Cormac rolls out all the screenwriters’ tricks ignoring the purely symbolic metaphorical and existential level which is full of ambiguous characters, holding up mirrors, hidden motivations and declamations seemingly about nothing, but in reality about redemption, damnation, the (im)possibility to choose and predestination and its thriller storyline represents just a necessary (but smarter and more true to life than it might have seem), all connecting excuse. The other one concentrates on what makes sense from the genre film making point of view and so he doesn’t care about the characters, the message, let alone the symbolism of the movie. The result is so unique, peculiar and well casted (apart from that one exception that breaks the rule... Yes, I’m talking to you Cameron) that in some circles it’s on its way to becoming a cult movie and for rest it’s doomed to remain misunderstood, damned and heading the Razzies.
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I think that people today won’t get this movie. It’s intended to be deep, but it’s terribly superficial. Which results in tense friction between both surfaces. The Counselor demonstrates just how Hollywood Scott’s style is. McCarthy wrote an incredible screenplay that breaks all the rules, unfortunately he didn’t make sure that the director applied the necessary parable to the movie. For something like that, I think someone else would be more suitable, Nicolas Winding Refn seems to me to the best choice. Personally, I like Scott’s style, so I was able to get over this point. The cast that he put together is admirable, but it maybe goes against the type proportions of the actors themselves. Fassbender is unusually nice, the evil that they talk about consists of just greed and snobbery. Pitt is fine, although a bit forced in places. Reiner is completely wrong for Bardem, he doesn’t play the role badly, but he’s simply the wrong type. Penny Cruz should be younger and more crazily in love, but she doesn’t make much of an appearance. And then there’s Cameron Diaz as Malkina. A monstrous, calculating bitch and probably the second most important character. McCarthy has probably never written a stronger female part. And Diaz took it on with flying colors. She’s good at swines, but Angelina would have suited better. And now we come to the biggest problem, which is the age rating. The Counselor hovers cleverly along the edge of the 15 rating, but this makes all the murder and sexual tension too sterile. The scene with the Ferrari is special and well delivered, but it doesn’t have the necessary shock effect that the characters talk about. Any torture in this movie is just talked about. It could be due to the artistic intention, but this takes away the credibility, the chilling edge of the picture. What’s the point of polished dialogs about death and doom if we see almost none of it? The Counselor isn’t a bad movie, it’s just too strange to like.
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