Legendary filmmaker Ridley Scott and Pulitzer Prize winning author Cormac McCarthy (No Country for Old Men) have joined forces in the motion picture thriller THE COUNSELOR, starring Michael Fassbender, Penélope Cruz, Cameron Diaz, Javier Bardem, and Brad Pitt. McCarthy, making his screenwriting debut and Scott interweave the author’s characteristic wit and dark humor with a nightmarish scenario, in which a respected lawyer’s one-time dalliance with an illegal business deal spirals out of control. (c) Official Site









Film information

Genre: , ,
Starring: , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,
Release date: Oct 25, 2013
MPAA rating: Rated R for graphic violence, some grisly images, strong sexual content and language
Official website:!/characters
Runtime: 117 min
Movie Reviews:
  • 100
    The New York Times - by Manohla Dargis
    Mr. Scott’s seriousness isn’t always well served by the scripts he films, but in Mr. McCarthy he has found a partner with convictions about good and evil rather than canned formula. ...

  • 100
    Chicago Sun-Times - by Richard Roeper
    The Counselor achieves the almost unheard-of daily double of giving us the most outrageous sex scene of the year AND the most unforgettably brutal murder of the year. This is a badass journey from start to finish. more

  • 88
    St. Louis Post-Dispatch - by Joe Williams
    In its cross-cultural breadth, director Ridley Scott’s smart and violent film merits comparison to Steven Soderbergh’s “Traffic,” but the dialogue delivered by the stellar cast is incomparably McCarthy’s. more

  • 75
    Boston Globe - by Tom Russo
    This one has more in common with Scott’s “Thelma & Louise” in the memorable way it escalates, inevitably but also unexpectedly, into a spin through wilder country, and a meditation on bigger themes. more

  • 75
    indieWIRE - by Eric Kohn
    Undoubtedly one of the weirder, narratively sophisticated adult dramas released by a major studio this year, The Counselor is also just enjoyable enough to hint at the unrealized potential of the main talent behind its creation. more

  • 75
    The A.V. Club - by A.A. Dowd
    No amount of needless chatter can quite dilute the power of The Counselor’s grim endgame, especially given the way its writer and director conspire to keep the threat offscreen, like some terrible, unseen force of nature. more

  • 70
    The Dissolve - by Scott Tobias
    McCarthy’s voice comes through strongly enough to excuse the film’s excesses and cast its more generic plot elements in a new light. more

  • 68 - by Kate Erbland
    A darkly tense drama that rarely hits anything resembling an emotional beat. more

  • 67
    Austin Chronicle - by Marc Savlov
    Fassbender, though, gets the kudos (again) as the man who has everything but loses it all – thanks partly to a slyly cast Bruno Ganz (Wings of Desire) and, more important, to the character’s moral compass that points wherever he feels it should, until, of course, it points due south of heaven. more

  • 63
    Movie Nation - by Roger Moore
    Among the players, the wild-haired Bardem stands out, and a vampy Diaz sets the stage for uninhibited future in villain roles, or deadly-sexy car sales. more

  • 63
    Philadelphia Inquirer - by Steven Rea
    McCarthy's screenplay, a tangle of doublecrosses and dead men, has just been published. Those who really want to know what's going on would be advised to buy a copy. more

  • 63
    Slant Magazine - by Bill Weber
    The film doesn't temper enough of Cormac McCarthy's excesses, but Ridley Scott and his ensemble find enough meat in his scenario to make for diverting, bloody pleasure. more

  • 60
    Empire - by Mark Dinning
    Ridley Scott finally gets to put Cormac McCarthy on the screen. It’s no No Country, but despite its less successful elements is shocking, powerful and — this just in — more gorgeously written than any movie you’ll see this year. more

  • 60
    Time Out New York - by David Fear
    For every camp element like Javier Bardem’s rainbow-vomit outfits or Diaz’s onanistic tryst with a car windshield, there are a dozen poetic-pulp moments that channel McCarthy’s pitiless view of the world to a tee. more

  • 60
    Arizona Republic - by Bill Goodykoontz
    It never quite adds up. You can’t shake the feeling that both Scott and McCarthy are aiming for something here that remains out of their reach. ...

  • 58
    Charlotte Observer - by Lawrence Toppman
    For a while, it’s fun to watch Bardem camp around in his rose-tinted glasses and stuck-my-finger-in-a-socket hairdo. more

  • 50
    ReelViews - by James Berardinelli
    It's not so much a bad film as it is a disappointing one. A very disappointing one. more

  • 50 - by Dan Callahan
    What works for him (McCarthy) in a novel cannot be said to work for him here. more

  • 50
    Rolling Stone - by Peter Travers
    Oddly, the published screenplay – while far from McCarthy's top-drawer – reads better than it plays. What's onscreen recalls a line from No Country: "It's a mess, ain't it, Sheriff?" more

  • 42
    The Playlist - by Gabe Toro
    It’s as if “The Man Of Steel” was ninety minutes of supervillians shit-talking Superman, then casually sticking kryptonite in his face without even pretending it’s a surprise. more

  • 40
    The Guardian - by Katey Rich
    Working as a screenwriter for the first time after years of seeing his novels successfully adapted to the screen, McCarthy is stretching his powers of language and mood – and, all too quickly, stretching his slim story and cast of characters way too far. more

  • 40
    New York Daily News - by Joe Neumaier
    Ultimately, this dull tour of a thieving, primal underworld is just a lot of high-talking hogwash. more

  • 38
    Miami Herald - by Connie Ogle
    What you don’t expect is camp. The Counselor is more "Wild Things" than "No Country for Old Men", with which it shares a border town setting. But at least "Wild Things" knew what it was. The Counselor treats its material seriously and seems to have no idea it’s a joke that can’t even muster up a bit of smarty-pants Tarantino cleverness or energy. more

  • 37
    Washington Post - by Ann Hornaday
    A movie that, despite its strenuous efforts to appear hardened and sexy and sleek, is unforgivably phony, talky and dull. more

  • 33
    Entertainment Weekly - by Chris Nashawaty
    A jaw-dropping misfire. The dialogue is laughably pretentious, the plotting is virtually nonexistent, and the performances are so broad and cartoony that you keep wondering if it's all some sort of prank. more

  • 30
    Time - by Mary Pols
    It’s derivative nonsense. The baffling thing is, McCarthy did write The Counselor. It’s his first original screenplay. The Counselor is not faux McCarthy; it’s just bad McCarthy. more

  • 30
    Variety - by Peter Debruge
    The script is nearly all dialogue, including several eloquent spoken passages toward the end, but it’s a lousy story, ineptly constructed and rendered far too difficult to follow. more

  • 30
    The Hollywood Reporter - by Todd McCarthy
    Despite its scaldingly hot cast and formidable writer/director combination, The Counselor is simply not a very likable or gratifying film. In fact, it's a bummer. more

  • 25
    New York Post - by Lou Lumenick
    Like “Traffic’’ on a massive dose of downers, Ridley Scott’s The Counselor is a great-looking and star-filled but lethally pretentious, talky, lethargic drama. more

  • 25
    San Francisco Chronicle - by Mick LaSalle
    It's possible there has never been anything like it. It contains memorable dialogue, vivid characters and several superb scenes, and yet it still manages to be wrong, a complete miscalculation. more

  • 20
    Los Angeles Times - by Kenneth Turan
    McCarthy has not done himself or his reputation any favors with this original. more

  • 20
    Wall Street Journal - by Joe Morgenstern
    What's missing is dramatic subtext and surprise, as well as any playfulness that might have kept us guessing about the plot. more

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User Comments & Reviews

  1. Liana Shimunova

    Movies can be like undercover cops: They become too enamored of the worlds they explore.