Capone

El decrépito Al Capone, que sufre de un empeoramiento de la demencia y lucha con las consecuencias de los ataques cardíacos y las enfermedades de transmisión sexual, está viviendo el último año de su vida dependiente del cuidado de familiares. A pesar del tema que suena poco atractivo, podría haber sido al menos un drama biográfico contemplativo interesante y notablemente concebido, sin embargo, su realización es muy desafortunada, los motivos son repetitivos y las visiones delirantes de Capone prácticamente no tienen sentido, por lo tanto toda la película se convierte en nada y se desmorona como la mente del personaje principal. Gracias a los actores, al menos no es vergonzosa ni involuntariamente ridícula. Podría resumirse como una espera insatisfactoria, para que Capone finalmente recuerde, donde escondió sus millones mal habidos, pero un misterio mucho mayor es cómo Tom Hardy logró aceptar este papel, en el que, como el gánster más famoso de la historia, simplemente fuma en pañales, murmura palabrotas en italiano, chupa zanahorias y se ve repulsivo. (21.10.2020)

I don't envy Trank. After becoming one of the few filmmakers who proved incapable of letting the studio collar him, and despite getting the money for his challenging auteur project, he was forced to finally send it to the living rooms of apathetic VOD viewers who only care about the star in the lead role and tagging the film a gangster flick. Capone, on the other hand, is far closer to Sokurov's Taurus (a once prominent, strong persona irreversibly withers in mind, body, and influence while being manipulated by those around him) or Zeller's The Father (a subjective depiction of the protagonist's damaged mind). While Trank's direction isn't anything particularly distinctive, and Hardy already pushes the role imo unnecessarily beyond the point of funny grotesqueness, I think in an era of overblown egos and ambition, the reminder is quite apt that the more convinced of ourselves we are during our lives, the more pitiful a caricature of ourselves we become in the end. Plus, it teeters on the edge of sympathizing with an utter monster, which always earns points. (27.06.2022)

An eccentric creative view of the last year of Al Capone’s life. Hardy feels at home with the bizarre and his transformation into a doubly incontinent, syphilitic wreck is perfection itself. The screenplay is more a series of hallucinations created by his failing brain (trying desperately to remember where he buried those ten million bucks) mixed with reality and memories of torture and killing. It is both shocking and surprising (gouging eyes out), but also lacking any prominent storyline. Calling him Fonzo does more harm than good, because it makes everyone expect a classic mafia movie. Krusty the Clown with a golden Tommy gun just won’t cut it. (22.05.2020)

This hurts. Capone sits and grumps, is incontinent and chomps a carrot instead of a cigar, and everything is so spectacularly uninteresting that it was hard to believe. Greyness and boredom only interrupted by a violent darkness and Tom Hardy, who once again manages to perfectly blend into the character and keep the viewer awake with his words. Trank is slowly moving towards TV and he can be grateful that the coronavirus spared him of another failure in the cinema. 40% (13.05.2020)