Legend

La única película en la que podemos ver a Tom Hardy dándole a otro hombre en el culo con un sacudidor en una fiesta gay. De hecho, este «comportamiento homosexual» de uno de los hermanos es parte de la escena más divertida de la película (el primer encuentro con Chazz Palminteri, el mafioso de Las Vegas). Una película de gánsteres divertida, basada más en la interpretación genial del doble actor principal que en la trama dramatúrgica. Es la relación entre los hermanos y su diferencia que Hardy consiguió interpretar tan bien que es el motor de la película. También me complació la representación del inframundo retro de Londres a través de la lente de las películas estadounidenses sobre gánsteres (Scorsese). La segunda mitad de la película podría acelerarse, pero aun así le doy la cuarta estrella. Gracias a la diversidad de la doble creación de Hardy, que disfruté investigando más de lo que esperaba. (06.10.2015)

Tom Hardy felt like a dual role and a dual role he got. And truth be told, he did a more-or-less good job portraying the two brothers, who are both criminals and who are each a little different. It’s a pity that the movie only starts getting really interesting once their entire empire begins to crumble apart. At that point, Legend capitalized on the entire story, which was otherwise not that interesting, and the movie prepared a rather tragic unravelling of the plot. And that was good. Mainly because the story was written by life itself. I actually felt really sad at the end of the movie about the human tragedy. (03.10.2016)

Organized crime in the USA had its golden years during the Prohibition era, while British organized crime had its most famous period in the 1950s and 1960s when London temporarily became the center of the world. The center of attention for tabloids and the public became the unmistakable Kray twins, who not only filled the pages dedicated to criminal offenses but also influenced fashion and socialized with showbiz stars. This is already the second film attempting to portray their life stories, and it must be said that Brian Helgeland managed to extract more than his predecessors. However, there is a problem from the audience's perspective - the film somewhat misleads them. The beginning follows a Tarantino-like style, and after the twins massacre a rival gang in an emotional collaboration, it seems like it will be a bloody and suspenseful ride. However, the film subsequently turns into a psychological drama, where one of the brothers' partners comes to terms with the knowledge that she has aligned her life with a sociopath, whose twin is a pure psychopath. It basically addresses the issue of Mrs. Schroeder from Atlantic City Mafia, who gets involved in a love affair with mafia boss Thompson and becomes entangled in the center of organized crime, fighting an endless battle between her conscience and her value system against the environment that surrounded her. The film is shot beautifully as a retro from the 1960s, showing that British cinematography is very capable. Many genre fans might sigh at the fact that the storyline following the Krays' growth, their domination of new neighborhoods, and the cleansing of the city from competition would be much more appealing to the audience. Overall impression: 80%. Tom Hardy lived up to expectations with his dual role. It may not be a big hit and will not rank high in the genre, but it has its good qualities. (05.01.2016)

Those of you who don’t like Hardy must take off two stars, because it is the acting performances that pull this rather standard gangster movie to new heights. Legend is too long for the little that happens in the movie. Either they should have shortened it, or draw out the Cray Bros. Odyssey into a miniseries. Not at all a bad movie, but it had much more potential. Amongst the competition - Peaky Blinders on TV - at the theater any Scorsese is the second from the back. Hardy’s Reggie and Ronnie are the pack-horses of this movie and worth every penny. The more I think about it, the character Emily Browning character perhaps unnecessarily slowed things down and bringing in a human touch. Helgeland is still good at his job, but can do better. (19.10.2015)

Brian Helgeland should stick to writing scripts, because when he's behind the camera, his films have no drive and the result is bland. And that is doubly unfortunate for a retro gangster movie like this, as the form is OK, there aren’t life wisdom and truths, and there’s even less Chazz Palminteri, and the film's plot structure is just there because it has to be. Otherwise, it's Tom Hardy's one-man-show, and a very brilliant one at that. If I wanted to watch an appetiser and a main course in one night, I'd go with Legend and maybe Goodfellas. (17.10.2015)

The only thing that puts this intimate gangster retro flick in the flattering company of the "must see" is Tom Hardy's flamboyantly chameleonic creation. The adage that life itself writes the best scripts doesn't apply here, because Helgeland has written a simple cinematic story flattened to the very worn out theme of "bad guys rising up", with the weight of the entire emotional and psychological aspect resting on Tom Hardy's performance – he makes the film work and not only makes it fun to watch, but also very fun to listen to, whether it's the arrogant teasing of the cops or gangsters or the irresistibly over-the-top sexual innuendo (Tom Hardy becomes the coolest gay man in movie history with this one). The imaginary tinsel of the past film year doesn’t belong to DiCaprio, Cruise or Pratt, it belongs to "Mad" Hardy. 70% (10.01.2016)

A rhetorical question grasped at the right end of the rope, "What else is missing from a good crime thriller with Tom Hardy?" Another Tom Hardy, of course! And what else on earth could a good crime thriller with two Tom Hardys be missing? (geez I sure took on a challenge) Emily Browning. Mm mmm. Three goals before the game has even started isn't entirely fair, but times are fair to the crooked, and with the team being ruled by the steady hand of proven coach Helgeland, I'd put my money on this one anyway. A hard-edged, stylized biopic that at times throws pure gold at the audience (the mobster's people's court) and then again isn't afraid to lie to the audience about what they’re seeing. Perhaps the only detriment is the obvious fact that the director of Payback had to be kept on a leash again, because more than once he can be seen wanting to step on turf that is clearly marked with signs that read "Do Not Enter! Love, Your Producers." However, for the promise of a director's cut and the once again incredible Hardy... Well, I can't help it. (03.02.2016)

Tom Hardy is absolutely mesmerizing in a dual role and one wonders why he didn't receive an Oscar nomination for this film. 2015 was definitely his year, even though he didn't win any major awards. The films with him were fantastic and "Legend" was also quite successful, especially in how it portrays the self-destruction of the brothers. By the way, excellent depiction of London in that time period. (06.03.2016)