I consider myself a hardcore Ridley Scott fan, but never before have I been more divided in my opin

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I consider myself a hardcore Ridley Scott fan, but never before have I been more divided in my opinion a Scott film than The Counselor. The film is an almost theatrical exercise in dialogue, prodavnice igracaka without very many of the director's audiovisual characteristics. So one can discuss whether it is a strength or weakness depending on preference.
I have often taken me to disagree with Scott himself when he claims that the story and characters are the most important to him when he chooses film projects. This has not at all been the basis of my attraction to his films. I think rather that his own art backgrounds have higher priority in the design of projects than he admits itself. Maybe The Counselor Scott's ultimate attempt to refute my thesis, as the largely rely on lengthy dialogue sequences and devotes little space to audiovisual intrinsic value. It can certainly seem that the director is trying to convince themselves their abilities within such ideology. Because let's be clear first that last: even though Scott has explored the character relationships prodavnice igracaka in movies like Someone to Watch Over Me (1987), A Good Year (2006), American Gangster (2007) or insofar as Thelma & Louise (1991), he never been close to cultivate so verbally and information heavy material previously.
There are of course some sort of frame story - the utitulerte Attorney (Michael Fassbender) is trying at best Breaking prodavnice igracaka Bad spirit to get out of financial trouble by entering into agreements that more or less consciously linking him to the Mexican drug cartel. From there it goes quite wrong. But unlike Vince Gilligan s television series, dwells Cormac McCarthy s original screenplay sensationally by intrigue the superficial tension. The Counselor are thus a big step from the film adaptation of the author's peerless The Road (2011).
Instead the film appears as a series of confrontations and dialogues between the key players. Dialogues that are extremely literary and smart, but not always realistic: Attorney vs. intermediary Reiner (Javier prodavnice igracaka Bardem), lawyer vs. wife Laura (Penelope Cruz), Laura vs. Reiners love Malkin (Cameron Diaz), Reiner vs. Malkin, Attorney vs. skjebnefrend Westray (Brad Pitt), the Attorney General by phone vs. cartel boss Jefe (Rubén Blades) prodavnice igracaka and so on and so forth. In all the dialogues produced existential issues, veiled action information, euphemisms and vague hints.
In this approach arises both fascination and frustration. Fascination in the form of witness Ridley Scott in a somewhat atypical territory, as well as in the actors' delivery of McCarthy's clever lines of dialogue. Frustration in the form of inadequate audio-visual potency. As Scott fan are you seeking for the great tableaux that only shows up in glimpses, as Reiner and Malkin nature excursions in the sunset breeze over the desert landscape prodavnice igracaka while watching his two pet Cheetah prodavnice igracaka hunting in free expression. A car chase sequence or two that operates with Tony Scott-ish color gradations. A couple of night scenes with a bluish tinge. Or the opening sequence where the lawyer and Laura have intimate contact under a thin quilt lake (a frempek prodavnice igracaka against their encapsulated fate?). But ultimately communicated surprisingly little over the picture and sound alone.
Nor do they get tense between the moves adds so much interesting or particularly high intrinsic value. So if the emphasis is as much on the actors, prodavnice igracaka characters and dialogue, how to live the movie through them? The lawyer produced long as quite apathetic and naive, until gravity begins. The character's final confrontation with themselves and their choices produced, however powerful and involving as only Michael Fassbender can. Reiners prodavnice igracaka journey very similar. From carefree pla