Write All Nite’s coverage of Tom Hardy’s career continues with:
Capone’s not bad!
Which isn’t to say it’s good.
But I didn’t mind watching it!
The quality parts range from enjoyable to admirable, but it’s ultimately an interesting failure overall.
Mostly because its thematic and narrative focus is aaaaaaall over the place; probably would’ve helped if writer/director Josh Trank hadn’t edited it himself. There’s a lack of a macro perspective in terms of what story he’s trying to tell, a common byproduct of being responsible for so many of the trees that you lose sight of the forest, which an outside
chopper editor could’ve reeeeally helped with.
Then again, it might be a screenplay problem
It’s definitely not the Al Capone movie mafia-fans would expect (unless they expected a quasi-Irishman-esque take on what the mob lifestyle turns ends-of-lives into, especially for “titans” of the “industry”). But it’s not clear if Trank totally decided on what the movie should be. There are provocatively-ugly moments, to be sure, but it seems like he was going for something here that I didn’t quite get, because it doesn’t feel like empty provocation just for shock’s sake; there might be a central metaphor, an idea or concept binding the movie together, that went over my head.
Then again then again, it might not exist, but let’s give all involved the benefit of the doubt (a scarcity in criticism nowadays)!
There’s a very good movie somewhere in Capone, which is more than can be said for a lot of releases today.
As for Hardy, he demonstrates yet again that he’s one of only a few thespians with movie-star looks and talent willing to uglify himself FOR NON ACADEMY AWARDS PURPOSES; usually, our biggest and brightest cake on makeup over their immaculate visages only for either tentpole paychecks or prestige Oscarbait.