Watch Free The Counselor Full Movie Online 2013

Watch Free The Counselor Full Movie Online 2013

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Can a movie be both a catastrophe and strangely compelling - maybe even, gasp, good - at the same time? It seems The Counselor is determined to find out. On the surface, this new Ridley Scott thriller, written by No Country for Old Men novelist Cormac McCarthy, is a narrative wipeout: a supposedly twisty-turny crime drama set along the border that isn't all that twisty or turny but is deeply convoluted, and at times howlingly insane. But it knows it makes no sense. In fact, it rubs our faces in it.

The movie opens with the Counselor (Michael Fassbender), whose name we never learn, and his lady love Laura (Penélope Cruz) in bed, making love. "Tell me something sexy," he says. "I want you to put your hands up my dress," she whispers. "But you're not wearing a dress." "What does that have to do with it?" Their exchange, shot in warm, intimate close-ups, feels both frivolous and portentous. After he does the deed, she sighs, "You've ruined me." She doesn't know how right she is. At any rate, a movie that begins with an extended sexual climax has got more than just Grishamite shenanigans on its mind.



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And boy, does it. Nonsensical story lines aren't always movie-killers. The Big Sleep is a masterpiece, but neither director Howard Hawks nor author Raymond Chandler reportedly knew what the hell happened in it; the story took a backseat to the impressively hard-boiled dialogue, to the smoldering chemistry between Bogart and Bacall. The Counselor can't come near such heights, but it's got something similar going on. There's some kind of plot here, about a drug deal gone wrong and a shipment gone missing, but every scene turns on observations about life, death, women, violence. The movie forsakes story; instead, it's all emotional through-line and color. A visit to an Amsterdam jeweler becomes a discourse on how we seek imperfections in diamonds, as a way to "announce to the darkness that we will not be diminished by the brevity of our lives." When the Counselor meets with his partner in crime, shady nightclub impresario Reiner (crazy hair aficionado Javier Bardem, sporting a Brian Grazer do), the conversation veers toward women and about how "you can do anything to them except bore them." When our hero later meets with Westray (Brad Pitt), a middleman in the drug business, they talk about how the world is all shit and the need to walk away from it. At one point, Ruben Blades shows up to tell us that "when you cease to exist, the world that you have created will also cease to exist." It's as if Cormac McCarthy isn't just the writer, but he's cast himself in every part, too.

Actually, that only applies to the men. The women are mostly saints or whores here. Laura is the good Catholic and angelic love object, and that opening scene between Cruz and Fassbender places the movie in the right context. He is desperately, foolishly, hopelessly in love with her, and everything he does is motivated by his all-consuming obsession to give her a good life. On the flipside, we've got Malkina (Cameron Diaz), Reiner's exotic, scheming, cheetah-obsessed mistress, who lacks any sense of self-reflection or empathy. While Laura gets a loving, intimate fingering from a very present Fassbender, Malkina, in one flashback that we'll all be talking about for years, fucks a car as Bardem watches. (I'm not making this up; it's a scene you could insert into a South Park episode without any extra embellishments.) "You see something like that, it changes you," Reiner says, with a hint of disgust; nevertheless, he's smitten, too. I'd probably be more troubled by the film's treatment of women if it made any pretense to realism, but these are clearly just opposing forces inside the writer's head. And they have a certain power, too. The film never loses focus on the Counselor's love for Laura, and that carries us well through the story's senseless byways and alleyways.

So, what the hell do we make of this movie? I worry that The Counselor is a monster that we created. By "we," I mean not just critics, but all of us who ask that such movies be about more than just the ins and outs of their respective plots. How many times have I said things like, "The movie isn't really about [insert description of ostensible story line] but really about [insert grand philosophical subject here ... the way that men think of fear, or love, or yada yada yada]"? The Counselor calls our bluff, and delivers the subtext on a blood-soaked, star-studded platter. Still, it shows us things - obscene and hilarious, yes, but also just as often harrowing and unforgettable - we never thought we'd see. It's ridiculous, but it has a ragged nobility all its own.

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You know you're watching a film noir when the main character is presented with two choices and never picks the right one. Of course, if people in movies did the right thing, made the correct, morally responsible decisions and acted like good, upstanding citizens, we wouldn't have a movie.

In Ridley Scott's The Counselor, Michael Fassbender stars in the title role of a well-connected lawyer who is about to participate in a highly illegal operation. Referred to affectionately and ironically by everyone he encounters as "counselor," Fassbender's shark in a suit contemplates partaking in a drug-running scheme, a first-time bid at high crime and an attempt to raise funds for a club he co-owns. He's also deeply in love with Laura, played so delightfully by Penelope Cruz, and the audience fully grasps how the weight of his bad decision hinders his healthy relationship.




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What makes all this moral contemplation stand out from other crime thrillers of this sort is how we're introduced only gradually into the Counselor's world. Scott may be the visual genius who gives the film a stunning, neo-western  look but he's also completely  in service of the screenplay by Cormac McCarthy, his first ever penned exclusively for the big screen.

For the first 40 minutes, there's no big action sequence-just talk. We learn about the characters, how they tie into the Counselor's life and listen as they philosophize about their status on the social ladder. There's also a great deal of advice given to the Counselor by Reiner, his immediate partner in crime (Javier Bardem, giving a performance as colorful as his attire, which is saying a lot) and Westray, a wealthy but lawless cowboy (Brad Pitt, in a great character turn).

McCarthy's dialogue dances from the lips of his actors, twisting playfully and providing many quotable lines you'll want to remember. This novelistic approach to storytelling is unusual for most American films, let alone one from Scott, though, this being a McCarthy story, you know things won't go down easy. As soon as things unravel and the Counselor's foolish belief in an air-tight plan goes awry, he braces for the worst.

This is one of Scott's "smaller" films, a drama that emphasizes character and moral code over spectacle. I admittedly loved Scott's last two films, the divisive but breathtaking Prometheus and the under-appreciated Robin Hood. Here, as in Matchstick Men and Thelma & Louise, Scott tells a familiar and very American story but creates a visual landscape that is scarier, more vividly beautiful and larger than life.

We're drawn into the contrasting worlds presented, of the Counselor's safe haven of slick privilege and that of the low class drug runners. Once the two worlds intersect, the results are as brutal as you'd expect, only more so, as Scott and McCarthy neither hold back nor give in to audience expectations.

Fassbender's character is almost always a picture of controlled composure, which makes his largely internalized performance seem less impressive than it truly is. Bardem's wily turn isn't on the same level as his iconic portrait of evil in the McCarthy-authored No Country For Old Men, but, as he did in Skyfall, he excels at playing intriguing, kooky and hard to define figures. Pitt's effortless charisma makes him the best at delivering McCarthy's stylish lines and grave insights, while Cameron Diaz, playing Bardem's main squeeze, taps into the icy demeanor that made her Vanilla Sky character so frightening.

Not everything comes together neatly or coherently in McCarthy's overly ambitious story. Yet, Scott keeps this riveting, even as his grim, dialogue-driven film is an acquired taste. The wrap-up will divide most audiences, as will the emphasis on talk over action. Still, when the blood starts to flow, it delivers shock and heartbreaking revelations.

Fans of Breaking Bad will like this the most, as will lovers of crime stories that provide a cautionary angle in addition to the pleasure of living vicariously through morally tainted criminals. Let it serve as a warning, as well as a recommendation, that the film's title could easily have been The Wages of Sin.

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