The Counselor, like previous McCarthy adaptations, is gorgeous to behold, but unlike No Country and the others, this one is unnervingly bright, l ensed in iridescent yellows and grungy grim tones. It lacks the scope of a Gladiator or a Kingdom of Heaven, instead acting as a somehow intimate, character-driven (or perhaps “dialogue-driven” is better) tale. It is, one could say, Ridley Scott’s first fable (yes, Legend notwithstanding).
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