Capone

Al Capone décrépit, atteint d'une démence qui s'aggrave et aux prises avec les effets de crises cardiaques et de maladies vénériennes, passe la dernière année de sa vie dépendant des soins de ses proches, affrontant ses péchés passés et son passé brutal dans de nombreuses hallucinations. Malgré ce sujet peu attrayant, cela aurait pu être au moins un drame biographique contemplatif intéressant et remarquablement conçu, mais sa réalisation est très malheureuse. Les motifs répétitifs et les visions délirantes de Capone n'ont pratiquement aucun sens et le film dans son ensemble ne traite donc de rien et se désintègre tout comme l'esprit du héros principal. Heureusement, grâce aux acteurs, ce n'est pas gênant et involontairement drôle. On pourrait résumer cela comme une attente insatisfaisante pour savoir si Capone se souviendra finalement où il a caché ses millions, cependant, un mystère bien plus grand est de savoir comment Tom Hardy a été convaincu d'accepter un rôle où, en tant que gangster le plus célèbre de l'histoire, il ne fait que glousser et marmonner des jurons italiens, sucer des carottes et avoir l'air répugnant. (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)

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)

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)