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Allied (2016)

16 Friday Dec 2016

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D: Robert Zemeckis / 124m

Cast: Brad Pitt, Marion Cotillard, Jared Harris, Simon McBurney, Lizzy Caplan, Daniel Betts, Camille Cottin, August Diehl, Matthew Goode, Thierry Frémont, Anton Lesser

French Morocco, 1940. Max Vatan (Pitt), a Canadian officer attached to the British army, is on a mission to assassinate a Nazi ambassador. He rendezvous’s with a French resistance fighter called Marianne Beauséjour (Cotillard). Posing as a married couple, they obtain an invitation to a party that will be attended by the ambassador and several other high-ranking Nazi officials. In the meantime, their posing as a married couple begins to awaken in each of them feelings for the other. When the mission is over, Max and Marianne realise they have fallen in love; he asks her to come to London  so they can marry. After a few months waiting for the red tape to be worked through, Marianne is allowed to join Max, and when she does she reveals that she’s expecting their child.

With their child, a girl, born during an air raid, Max and Marianne’s life begins to settle down into a more sedate existence. With Max rumoured to be in the running for a promotion, he’s called in one day by his superior officer, Frank Heslop (Harris). Frank introduces him to an S.O.E. operative (McBurney) who wastes no time in telling Max that they suspect Marianne is a German spy. Max refuses to believe it, but he’s charged with aiding the S.O.E. in their investigation. He has to receive a telephone call later that night, write down the details of the call and leave them where Marianne will see them, and then wait forty-eight hours until the S.O.E. will know one way or the other if the details have been transmitted to Germany. And there’s a further catch: if Marianne is revealed to be a German spy, then Max has to be the one to kill her.

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Despite being told not to, the next day Max decides to launch his own investigation. Aiming to prove Marianne’s innocence, he tracks down a British officer (Goode) who knew her before Max did. But the officer is unable to help him. At a party they’re hosting that night, Max sees Marianne talking to an old man (Lesser) he doesn’t recognise; the man turns out to be a jeweller, but Max’s suspicions are increased. With time running out, Max has no option but to travel to Occupied France and seek out the one man he’s certain can tell him if Marianne is who she says she is, a resistance fighter named Paul Delamare (Frémont). He finds the man in gaol, and learns something about Marianne that will answer the question of her guilt or innocence once and for all.

Some directors – many, in fact – have careers that initially show a lot of promise, are very successful once they’ve made four or five movies and have become internationally well-known, but then find their later projects failing to attract both the same audience levels and continuing critical acclaim. Robert Zemeckis is just such a director. Used Cars (1980) is a great, largely unsung comedy that features one of Kurt Russell’s best performances. The Back to the Future trilogy cemented his place in movie history, and Forrest Gump (1994) reinforced his stature as a mainstream director. But since then, and with the possible exception of Cast Away (2000), Zemeckis’ output – including three excursions into the world of performance motion capture – has been less than stellar, and The Walk (2015), a movie that looked as if it could arrest the slow decline in Zemeckis’ career, proved not to be up to the task.

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And sadly, with Allied, Zemeckis has still to reverse that decline. Working from a tired, ineffective screenplay by perennial under-performer Steven Knight, Zemeckis has tried to make an old-fashioned romantic drama that harks back to classic wartime movies such as Casablanca (1942), while also presenting said drama with a more modern visual sheen. The mix, though, doesn’t aid a movie that is difficult to engage with, and which never does enough to make you care about either Max or Marianne. With no one to root for, Knight’s screenplay becomes a matter of pushing the basic storyline through to an incredibly unsatisfactory ending, one that will have audiences shaking their heads in disbelief (though there are plenty of other occasions where they’ll be doing this as well). And Zemeckis, a director whose visual acuity shouldn’t be in doubt, doesn’t seem able to enhance the narrative in any meaningful way, leaving Don Burgess’s cinematography to look and feel as tired as everything else – which is an incredible thing to realise, as Burgess is Zemeckis’ usual DoP, and has lensed non-Zemeckis movies such as Enchanted (2007) and The Book of Eli (2010).

Against this surprisingly dour visual backdrop, Pitt and Cotillard are left “holding the bag” as they try to inject a sense of immediacy into proceedings, and also try to convince the audience that they’re involved in a great love affair. Thanks to Knight’s script, though, neither star has a chance, as they’re hampered by some awful dialogue – “There’s a thing called the soul. I’ve looked into her soul.” – and the kind of motivations that don’t sound credible once they’ve been said out loud. Cotillard fares better than Pitt, but that’s only because she has less to do. Left stranded by virtue of having to carry the movie’s second half on his own, Pitt looks pained and unhappy, and though this could be attributed to his character’s state of mind, it always seems more likely that it’s a reflection of the star’s awareness that the movie isn’t turning out as well as it should.

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The rest of the cast pop in and out of the narrative, often for one or two scenes, and fail to make any impact. Harris is the kind of gruff, good-natured senior officer we’d all like to think existed at the Ministry of Defense, McBurney plays an historical predecessor of the role he portrayed in Mission Impossible: Rogue Nation (2015), and Caplan is tucked away at the back of a few scenes as Max’s (apparently) openly lesbian sister, Bridget. While some of these characters are important in terms of moving the story forward, none of them have any depth, and again, thanks to Knight’s tortuous way with dialogue, none of them sound convincing (check out the dialogue Harris is stuck with in the movie’s denouement).

With Zemeckis bringing very little to the project other than his name and an occasional flash of the visual style that he’s most famous for, it’s difficult to work out what attracted him to the project, and very seriously, why he completed it. Coming so soon after The Walk, perhaps he didn’t have as much prep time as he’s used to. Perhaps the initial concept became altered and irretrievably lost during production, leaving Zemeckis stuck with seeing it through. Perhaps he did, genuinely feel that this was a project that he could make an entertaining, thrilling, exciting movie out of. Whatever the reason for his participation, this leaden, dreary, unappealing movie is the result, and it does the man and his career no favours at all.

Rating: 5/10 – yet to recoup its $85 million budget at the international box office, Allied is a movie that tests its audience’s patience, and gives it very little to care about; a dismal experience overall, and a reminder that the combination of a big name director and big name stars doesn’t always guarantee good value or an entertaining couple of hours.

Question of the Week – 24 September 2016

24 Saturday Sep 2016

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With the news earlier this week that Brad Pitt and Angelina Jolie are getting divorced “for the good of the family”, there’s a feeling that their break up was inevitable. After all, they’re not the first couple to make a movie together and then decide it’s not working (the marriage, not the movie; though sometimes it is both). Having made the less than absorbing By the Sea (2015) – about a failing marriage, no less – the end of Brangelina appears to have occurred as an expected consequence. Make a movie where you play a couple who are no longer happy with each other, and as Woody Harrelson’s character in Now You See Me 2 (2016) puts it, “Bingo, bango, bongo!”, you’ve got a predictable case of Life imitating Art.

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And they’re not the first couple to end up fighting each other in the tabloids and/or a courtroom. Who can forget the unlikely pairing of Tom Cruise and Nicole Kidman – as a real life couple, not as an on screen one – in Eyes Wide Shut (1999)? Again, a serious movie about relationship troubles, and soon afterwards, a marriage in tatters. And on a lighter note there’s the always doomed Bennifer, Ben Affleck and Jennifer Lopez, in the so-bad-it’ll-only-be-a-cult-movie-when-everyone’s-dead celluloid disaster, Gigli (2003) (Jeez, was it really that long ago?). At least they didn’t have to fight over the kids.

Of course, and all joking aside, married couples who act together don’t always split up. Take Antonio Banderas and Melanie Griffith who appeared together in Autómata (2014) – oh, hang on, no, they split up the same year. Well, if not them then there’s Ben Affleck (him again) and Jennifer Garner – oh no, hang on, they split up last year, and they didn’t even make a movie together. Oh well, you can’t win ’em all (just ask Brad Pitt, who now gets to add suspected child abuser to his resumé). So with all that in mind, this week’s Question of the Week is:

Should married couples who act, appear in movies together, and should they appear as a couple fighting to save/end a doomed marriage?

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The Big Short (2015)

22 Friday Jan 2016

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The Big Short

D: Adam McKay / 130m

Cast: Christian Bale, Steve Carell, Ryan Gosling, Brad Pitt, John Magaro, Finn Wittrock, Marisa Tomei, Melissa Leo, Rafe Spall, Jeremy Strong, Hamish Linklater, Adepero Oduye, Byron Mann

It seems a little odd now that next year, 2017, will see the tenth anniversary of the collapse of the US housing market. Thanks to the greed of the Wall Street banks, in the US alone, eight million people lost their jobs and six million people lost their homes. It was a national scandal. But how did it all come about? Well, it’s fairly complicated, but The Big Short does a good job of explaining it all.

Adapted from the book by Michael Lewis, the movie looks at the people who first realised that the US housing market was a timebomb waiting to happen. It begins with a hedge fund manager, Dr Michael Burry (Bale). He had been analysing mortgage lending practices and discovered that mortgages were being sold at an alarming, and unchecked rate. With increasing defaults at the lower end of the market, a collapse was inevitable, and Burry predicted it would happen in 2007. Burry then approaches several of the big name banks, including Goldman Sachs, and persuades them to let him take out credit default swaps, an insurance against the collapse happening. If it does, they pay him a major return on his premiums.

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Burry’s actions attract the attention of a trader at Goldman Sachs, Jared Vennett (Gosling). At first, like everyone else, Vennett thinks that Burry’s idea is completely ridiculous. But he does what Burry did and digs a little deeper, until he too sees the likelihood of the collapse happening. He attempts to do what Burry has done using his own funds but a misplaced phone call ends up putting him in touch with Mark Baum (Carell), another hedge fund manager. Baum and his small team begin to create their own credit default swaps.

In addition, two young investors, Charlie Geller (Magaro) and Jamie Shipley (Wittrock) hear about the default credit swaps, and with the aid of industry veteran Ben Rickert (Pitt), they too manage to raise their own swaps. Burry faces the ire of his bosses at the company where he works (who can’t see that the housing market could collapse – because it’s never happened before) because of the size of the premiums he’s paying, while Baum’s investigation into the pending collapse begins to show the enormous effect it will have on the public, as well as the financial system. The sheer size and scope of the fallout, they realise, won’t just affect the US economy, but the global economy as well.

As Baum and his team look further into the reasons why the collapse will occur, they discover that the banks and mortgage lenders are complicit in keeping the status quo, preferring to get rich off of short term investments instead of long term ones. And they also discover the existence of CDO’s (collateralized debt obligations), groups of poor loans that are packaged together and given incorrect ratings in order that they can be sold on. These packages are essentially worthless but are being used to a) prop up the already wobbly housing market, and b) to further ensure quick, easy profits for the banks.

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But it all proves to be too much and too late. In 2007 the markets defaulted and the collapse began in earnest. The ripple effect of foreclosure after foreclosure began to cripple the banks, and many closed for business, owing billions of dollars (the movie states that $5 trillion was lost in total). But – and here’s the irony – Burry, Baum, Vennett, Geller and Shipley all profited from the collapse. Their credit default swaps allowed them to make millions off of the back of everyone else’s misery. The movie acknowledges this around halfway through, and while up til then the viewer might be regarding these guys as the heroes of the story, by the end it’s doubtful you’ll see them in the same light. When Burry leaves his office once his company’s credit default swaps have been honoured you see the amount they’ve made written on a board: $2.69 billion.

By focusing on the people who warned the system what was going to happen, and who benefitted from it in the long run, The Big Short is able to show us what was happening on the inside, and how pervasive the fraud related to mortgage lending was. It’s a morality tale where no one gets off lightly. Geller and Shipley, once they realise the effect the collapse will have on ordinary people they try and warn their friends and families, but they’ve made no effort to warn anyone else during the whole time. Baum approaches one of the Ratings agencies, to see how they can justify giving approval ratings to the CDO’s, only to be told that if they didn’t the banks would take their business elsewhere; and yet Baum doesn’t warn anyone outside his own team about what this means. And Burry sits back in his office and watches it all unfold with the view that he’s just doing his job.

That the US financial institutions of the time were amoral in their approach to protecting their clients is something we’ve long been aware of, but the point The Big Short makes with absolute clarity is that everyone was too busy getting rich to even care. What makes matters worse is that the banks weren’t even worried; they knew that the government – the people, if you like – would have to bail them out if anything did go wrong. It’s this nasty, reprehensible lack of responsibility, and the extent of it, that really comes across, and even though Baum in particular bemoans the industry’s fraudulent activities, it still remains that few efforts were made to avoid the collapse when it was known about and accurately predicted.

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As the movie’s anti-heroes, Bale is on nervous, Asperger’s-type form as Burry, supposedly with a glass eye (the left one), and working with absolute certainty that his projections are correct. Burry is a character that comes across as indifferent to anyone around him, and dismissive of others when challenged, but Bale makes him into a weary financial warrior, determined to make a profit for his investors at the expense of millions of ordinary non-investors. He’s likeable enough but some viewers may find him cold and distant. Carell plays Baum as the script – by McKay and Charles Randolph – has set him up: as the tale’s sole source of any conscience. With an unflattering wig perched on his head to add to his woes, Carell looks crestfallen and morose throughout, as if the weight of the (financial) world was all on his shoulders alone. It’s less of a performance than an extended mope-athon, and aside from a few moments of outrage, Baum looks and sounds like someone who’s got inside the cookie jar, has stuffed them all in his mouth, and only then discovered that he doesn’t like the flavour.

In support, Gosling sports a hideous hairstyle and struts around breaking the fourth wall with undisguised glee (as do several other characters), while Pitt buries himself beneath another odd wig and a scruffy beard. Magaro and Shipley adequately put across the eagerness and the excitement of being in on what could be termed an “industry secret”, and their scenes together are eloquent for how they go from earnest and enthusiastic to demoralised and dismayed. The rest of the cast do well with sometimes sketchily written characters, though Mann comes in towards the end as an investment manager that the banks use to create synthetic CDO’s (even worse than the real thing) and who is scarily unconcerned about the consequences of what he’s doing.

McKay – better known for his work with Will Ferrell – has made a movie that exposes the indolence and the greed at the heart of Wall Street during the last decade, and he’s done it with no small amount of style. When something complicated needs explaining, instead of getting one of the characters to explain it, the movie is effectively paused while a celebrity does so in terms that the average viewer can understand (which leads to the surreal moment when Selena Gomez explains what synthetic CDO’s are). With the intricacies of the financial jargon overcome, McKay looks to emphasise the human cost of the banks’ endeavours and does so with a pointed, judgmental approach that can be hugely effective.

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The Big Short may not be everyone’s idea of a movie to crack open a few beers with, or indeed one that could be enjoyable, but there’s much to warrant giving it a try, and if you pay attention to what’s being said, there’s a lot to be understood about what went wrong in 2007 and why it was inevitable. As a cautionary tale it’s perhaps a little too late in the telling, but it does leave the viewer with one very clear warning right at the end: beware of “bespoke tranche opportunities”. They’re the new version of CDO’s and the banks are pushing them with all the gusto did in the past.

Rating: 8/10 – well focused on both the financial and human sides of the crisis, The Big Short is a scary look at a situation that nearly caused a global financial meltdown, and why it came about; fascinating and horrific on a continually WtF? level, the movie is at its best when its skewering the antipathy and the greed of the banks and their seemingly pathological determination to screw over everybody for the sake of a quick buck.

Fury (2014)

30 Thursday Oct 2014

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Fury

D: David Ayer / 134m

Cast: Brad Pitt, Shia LaBeouf, Logan Lerman, Michael Peña, Jon Bernthal, Jason Isaacs, Jim Parrack, Brad William Henke, Kevin Vance, Xavier Samuel, Anamaria Marinca, Alicia von Rittberg

April 1945, Germany.  A battered, disabled tank lies amidst the carnage of a recently fought battle.  Its men – Collier (Pitt), Swan (LaBeouf), Garcia (Peña), and Travis (Bernthal) – are battle-hardened and weary but they have an unshakeable bond.  Under Collier’s tough, uncompromising leadership they’ve survived countless skirmishes, encounters and battles.  Now, with the war nearing its end, they are all looking forward to peacetime.

Travis gets their tank – named Fury – moving again and they head back to base.  There, much to Collier’s disgust, they are assigned a new driver/gunner, Ellison (Lerman); Collier is disgusted because Ellison is too young, he’s only been in the Army for eight weeks and he knows nothing about tanks.  Introduced to the rest of the crew, Ellison is treated with disdain and told to take a bucket of hot water and clean out the inside of the tank.  When he does, he finds the partial remains of the previous driver/gunner.  Meanwhile, Collier and three other tank commanders are given a mission to meet up with Baker Company and from there take over a small town.

On the way to the rendezvous, Ellison’s inexperience causes the death of several men including the lieutenant (Samuel) who was leading them.  Now led by Collier, the convoy carries on and they meet up with Baker Company and their commanding officer, Captain Waggoner (Isaacs).  Before seizing the town, Waggoner needs the tanks to flush out a German unit that has several dozen US troops pinned down in a field.  Fury and the other tanks get the job done, but Ellison’s inexperience nearly causes more casualties.  When the fight is over, Collier tries to make Ellison kill a captured German soldier, putting a gun in his hand and telling him to “do his job”, which is to kill Nazis.  Ellison refuses but Collier puts his hand over the young man’s hand and pulls the trigger.  Ellison is horrified by it all but it proves to be a turning point, and when the nearby town is taken he is less nervous and is able to despatch the Germans without feeling too sick or nervous.

With the town taken, Collier and Ellison investigate a building where they’ve seen a woman peering from a window.  They find the woman, Irma (Marinca) and her niece Emma (Rittberg).  While Collier washes up, Ellison takes Emma into the bedroom and clearly attracted to each other, they make love.  Later, while the four are about to have a meal, the rest of Fury’s crew barge in and spoil things, before orders are received to report to Captain Waggoner.  He tells Collier and the other tank commanders that there is a nearby crossroads that needs holding because of a large German troop movement that’s heading in that direction.  But on their way there, the tanks find themselves under attack crossing a large field, and very soon the whole mission is in danger of failing.

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After the less than impressive Sabotage (2014), writer/director Ayer returns with a movie that paints a portrait of extreme heroism under one of the most difficult of environments, and with a keen eye for detail that grounds both the action and the characters.  It’s a challenging piece of moviemaking and provides a reminder of just how awful tank warfare could be.

And yet, Fury is a curious mix of the heroic and the mundane.  Ayer’s script paints each man as a distinct individual – Collier as noted above, Swan as religiously minded, Garcia as more carnally oriented, Travis as a bigoted animal, Ellison as a callow liability (at first) – but it doesn’t take the time to explore or delve into those characters any further than those broad brush strokes allow.  Collier speaks fluent German but the reason for this is never revealed, leaving the audience wondering if it’s part of a back story that was excised from the final script, or if it’s just a case of Screenwriting Expediency 101, a way to keep the crew ahead of the Germans without them having to work too hard to get there.  Ellison is the only character who gets a story arc, and while his initial shock is well presented, though predictable given his introduction, when he does take to killing Nazis, all of a sudden he’s enjoying it.  The change in attitude is too quick, and is an example of Ayer’s script downplaying motivation in favour of the next big action sequence.

The extended sequence in the apartment of Irma and Emma is another case in point where Ayer seems to be scratching the surface of an issue, highlighting the essential need, even in wartime, for people to hold on to their innate humanity.  Collier and Ellison treat both women with the utmost respect but when the rest of the crew bundles in creating tension around the table and being hostile and objectionable, the tone shifts uncomfortably and Travis in particular is allowed to behave as if social manners were alien to him (he later apologises to Ellison but it’s not in the least convincing – if it were to happen in real life it would appear forced and contrived).  The whole sequence becomes uneven and any message that Ayer was aiming for becomes lost in the telling.  He then adds a layer of tragedy that speaks of the callous nature of war but which, for the viewer, will only come across as an unnecessary twist in the tale.

With so many apparent flaws in the screenplay, and with its shifting tone proving hard to pin down, Fury presents a problem for the viewer in that it’s a movie that attempts to take a snapshot of one part of what happened in World War II and to make it resonate beyond that snapshot.  This is almost a timepiece, a movie where the overall picture is lost in the mist and shadow that permeates the fields and roads that the tanks travel through.  It’s not a bad approach as such, but without that wider focus, Fury limits itself to being solely about the men inside a tank, and with no real effort to expand on their characters, it becomes a snapshot with no context.

Screenplay issues notwithstanding, the movie is on firmer ground with its action scenes, making the tank skirmishes urgent and vital, and deftly playing up the cramped conditions under which the crew operate, making a virtue of the economy of movement needed to load and fire the shells (try and count how many times we see Swan’s foot press down on the firing pedal).  These scenes are impressively shot and edited together by Roman Vasyanov, and Jay Cassidy and Dody Dorn respectively, and offer a few heart-stopping moments along the way.  But Ayer then settles for a final showdown between Fury and the advancing German troops that lifts action beats from every direct-to-video war movie you’ve ever seen, and which sacrifices credibility for the kind of careless heroics that undermines (and overturns) everything that’s gone before.

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On the whole, Fury isn’t a bad movie per se, it’s sadly a movie that never quite realises its full potential.  It does feature some very good performances however, and these raise up the movie when it most needs it.  Pitt is as intense and commanding as ever, dominating every scene he’s in and making it difficult for the audience to concentrate on anyone else.  But matching him – thankfully – is Lerman, putting in a career best performance that quickly obliterates any embarrassing memories of him in the Percy Jackson movies or The Three Musketeers (2011).  As Ellison grows up on screen so too does Lerman, showing a range and a conviction that’s eluded him up until now.  It’s a pleasure to watch him match the likes of Pitt and his co-stars, all actors who, on their day, can impress beyond all expectations.  (Well, maybe not LaBeouf, but here he’s tolerable and seems required to stare fixedly at Pitt for most of the movie, but good luck with working out what emotion he’s meant to be feeling.)

Ayer is a talented individual, and he’s written some great scripts over the last fifteen years; he’s also making a name for himself as a director as well, but to date End of Watch (2012) remains his most fully realised project.  Fury will definitely attract audiences initially but there’s a sense that, ironically, it won’t have “legs”.  Which is a shame, as the movie could have been so much better had Ayer been more rigorous with his script.

Rating: 7/10 – slightly better than average but with enough problems to make viewing the movie more disappointing than not, Fury bristles with energy during its action scenes but otherwise is sluggish; one to see on the big screen though, and with one’s expectations firmly kept in check.

The Counselor (2013)

23 Saturday Nov 2013

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Counselor, The

aka The Counsellor

D: Ridley Scott / 117m

Cast: Michael Fassbender, Penélope Cruz, Cameron Diaz, Javier Bardem, Brad Pitt, Rosie Perez, Bruno Ganz, Rubén Blades, Sam Spruell, Toby Kebbell, Natalie Dormer, Goran Visnjic

An original thriller from the pen of Cormac McCarthy, The Counselor is a cautionary tale about what can happen when a good man does something bad. The ‘bad’ in this case is get involved in a drug deal where a $20m shipment, bound for Chicago from Ciudad Juárez in Mexico, is hijacked along the way. The good man is the titular (unnamed) counsellor, seen first expressing his love for Laura (Cruz). His plan is to use the money he’ll get back from the deal to set up their life together; he buys a very expensive diamond engagement ring for her, further stretching his finances. In on the deal with him is Rainer (Bardem, sporting another of his strange movie hairstyles) and Westray (Pitt). What none of them know is that Rainer’s girlfriend, Malkina (Diaz) is behind the hijacking. What follows is a game of cat-and-mouse as all three men try and stay one step ahead of the cartel that suspects one or all of them are responsible.

Like a lot of Ridley Scott’s movies, The Counselor starts off promisingly enough but soon tails off into something completely at odds with the original mise-en-scène. The cautionary tale becomes a darkly-comic thriller that becomes a series of improbable scenes involving the Counselor’s efforts to extricate himself from the mess he’s got himself into, before becoming an equally improbable electronic money heist set in London. All the while, the movie is punctuated with the kind of profound monologues (Blades’ especially) that nobody really says in real life, and clinically-filmed set pieces that offer brief release from the turgid nature of the screenplay. There’s no doubt that McCarthy is a great writer, but film is a medium that, on this occasion, he’s failed to get to grips with. His characterisations are only occasionally compelling, while the Counselor is required to fall apart as soon as he hears about the hijacking and just plummet further from there. Malkina has no back story, no reasons given for her actions and Diaz is left playing a modern-dress version of Lady Macbeth, but without the informed psychology. It’s a tribute to Diaz that Malkina isn’t played entirely one-dimensionally, but there are times when it’s a close-run thing. And the character of Laura is given little to do other than to provide a reason for the Counselor’s getting involved in the deal in the first place; after that Cruz is pretty much sidelined.

Counselor, The - scene

As you would expect from a Ridley Scott movie, The Counselor is a visual treat, Scott painting celluloid pictures with the same verve and attention to detail that he’s been doing since The Duellists (1977). The desert vistas in Mexico are beautifully filmed, as is the US back road where the hijacking takes place – a brutally short but bravura piece that is a stand out, along with Westray’s eventual fate. Scott’s grasp on a script’s cinematic requirements is as sharp as always, and while he is a supreme stylist, he doesn’t appear to have kept a firm hand on what’s being filmed; as a result there are several nuances that are missing or undeveloped, not least in the encounter between Malkina and Laura which could have resonated much more than it does. Instead it becomes just a scene where we learn Malkina can be manipulative for the sake of it.

While Diaz and Bardem’s characters make for an unlikely couple, their scenes together are fun to watch, but it’s Pitt who comes off best as the been there, seen-it-all, knows when to get out Westray. It’s he that predicts the movie’s outcome, he that tells the audience in his first scene what’s going to happen to at least two of the characters, and it’s he that has the best line in the movie: when talking about the cartel, he says, “…they don’t really believe in coincidences.  They’ve heard of them.  They’ve just never seen one.” There’s a great little cameo from John Leguizamo (uncredited), and as Malkina’s hijacker of choice, Sam Spruell exudes a cold menace that keeps you watching out for him even when he’s not on-screen. Fassbender has the unenviable task of getting the audience to sympathise with a character who looks for anyone else to get him out of the hole he’s dug too deep, and by the film’s end you wish the cartel would catch up with him and put him, and us, out of our collective misery.

The Counselor isn’t a bad movie per se, just a muddled, at times distracting movie that loses focus throughout, only to redeem itself with a scene or two of better impact. There’s a nihilistic approach at times, and often you don’t care what happens to anyone, even Laura, presented here as a (mostly) innocent bystander. It looks great, as expected, but there are too many hollow moments for it to work properly. As with a lot of movies, the script is responsible for this, and while this is only his second screenplay after The Sunset Limited (2011), McCarthy shouldn’t be discouraged from writing any more.

Rating: 6/10 – it could have been so much better, but The Counselor fails to engage on an emotional level, and while as you’d expect from Scott it’s a pleasure to look at, there’s too little going on too often for it to work as a whole.