The director's cut unfolds with clinical precision into a highly moral cautionary tale about the drug underworld, that defies expectations yet somehow everything seems to fall into place. The film is at once surprising and predictable, horryifing and then utterly gratifying, just like watching the leopards chasing their prey.
I am an apologist for this film, which was always destined to be over hyped given the talent involved. The script is admittedly weak overall, but there are some unforgettable sequences, especially the one involving Cameron Díaz and a car windscreen.... Thst one will stay with me forever.
Definitely way better than on my first viewing. The extended version really helps to improve, clarify and justify what Scott and McCarthy were trying to accomplish. I see the whole thing as a satirical farce. A joke buried deep down inside the thriller genre and a morality tale filled with philosophical talks. Everything is absurdly over the top. Just look at Javier Bardem's crazy hair. A wild and misunderstood gem.
Un super casting où Cameron DIAZ, Penelope CRUZ, Brad PITT & Javier BARDEM distancient -de loin- Michael FASSBENDER. Mais où est la profondeur de Cormack MC CARTHY sous le vernis de cette production hollywoodienne? ... A great cast, where Cameron Diaz, Penelope Cruz, Brad Pitt and Javier BARDEM distance by far Michael FASSBENDER. But where is the depth of Cormack MCCARTHY under the gloss of this Hollywood production?
Disappointment. For me Ridley Scott messes it up. He got a great cast in hand. He got an interesting story in hand. He got a fine writer in hand. But the movie didn't feel as exciting as it could be & supposed to be. Boring. Ridley Scott definitely wasted an incredible amount of potential.
Moments ranging from brilliant to atrocious, this was a bit of a misfire for me. As badly as I wanted to love it, it just couldn't set its hook in me. The dialogue was clever and sharp as a bolito, on paper. On camera, it seemed a little dry and mishandled. Diaz gives the worst performance, while all other players are pretty charming most of the time. The thrills were thrilling, but perhaps a little too few.
Cormac McCarthy's particular brand of grim fatalism and outmoded misogyny makes for strange bedfellows with director Ridley Scott's glossy, music video-style aesthetic. And yet the slick visuals go a long way in making the disjointed narrative more palpable. The biggest issue may be that, for a film full of colorful supporting characters, the 'counselor' at the center of it all is the least compelling figure here.