A rich and successful lawyer, the Counselor, is about to get married to his fiancée but soon becomes entangled in a complex drug plot with a middle-man known as Westray. The plan ends up taking a horrible twist and he must protect himself and his soon to be bride as the truth of the drug business is uncovered and targets are eliminated. Written by
(at around 50 mins) When Malkina is driving the yellow Ferrari California on the golf course, the cables used for the internal cabin lights are clearly visible going through Reiner's passenger door. See more »
The film may be judged upon different merits. Technically, it is a thing of great beauty in the style of super-crisp cinematography and high-level production values frequently seen in Scott's contemporary films such as American Gangster and Prometheus - there is nothing to be faulted in this area of the film's construction. I believe that the writing is that which has created the vast disparity in professional reviews. The New York Times (?) reviewer gave the film her highest marks whereas others viewed the film as being sub par or even disastrous. How could this be? Perhaps because of the origins of the script, from the hand of McCarthy, a literary master. I was recently watching a Tennessee Williams play adapted for the screen by Kazan, and I could feel the weight of its literary origins. This was how I felt watching TC. The plot, setting, and, more generally, the world, McCarthy creates are vehicles for the theme, that of the human condition, man's striving, reaching, cunning, and ultimately, his animal nature. This was the risk taken by Scott in allowing such a heavy-weight to pen the script, that the film would be driven by theme rather than plot, and that it would not quite fit in with today's banal, CGI-infected cinema culture, which, perhaps, it pretended to be by its glossy exterior. The "overly-long" dialog was especially trying for short attention spans but those who may have enjoyed the great cinematic classics over the past century will adore this creation. Through thematic contrivance is created a jungle filled with various inhabitants. Through a form of Darwinian selection, the weak are slowly exiled from this unforgiving world until only those with an appetite for blood and an intolerance for weakness are allowed to remain. There is enough blood and perversion to keep you smiling, but the weight of its humanity will grip your soul. Please ignore the critics, Mr. Scott, and continue allowing your cinematic muse to light your path, even if Hollywood keeps telling you that you must help pay the bills. (See Mr. Welles, not Mr. Spielberg.)
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