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A liquidity problem necessitates the sale of sculptures of ancient Roman gods and centurions, which are hauled off, providing unsubtle symbolism for his awareness of his power slipping away. The paranoia that gnaws at Fonse is partly justified by his glimpses of FBI surveillance officers on the perimeters of his property. But despite the elegant visuals, lush colors and pristine skies, an evocative sense of dread hangs heavy in the air. He’s like a zombie bulldog.Īccomplished cinematographer Peter Deming’s cameras pan gracefully across the Florida waters, through the trees and around the manicured lawns of the palatial Capone estate. Even when he’s scared and confused, Capone is too much of a cartoon here to engender empathy. But there’s no real sign of introspection in the characterization or dialogue to back that up. The emphasis on his explosive bowels, not to mention the number of times we see him hacking up great gobs of bile, suggests a man viscerally disgusted with himself.
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The writer-director is more interested in the psychodrama of a disintegrating mind and the ways in which the past comes back to haunt Fonse as he struggles to distinguish the blurred lines separating reality from fragmented memories and fantasies. But the big interrogation scene by ambitious young FBI agent Crawford (Jack Lowden) - who’s flanked by Trank in a vanity cameo - comes more than an hour into the film, by which time it feels almost like an afterthought.įirst Trailer for Crime Drama 'Capone' Starring Tom Hardy Is Here | THR News There are glimpses throughout of that investigation, including Kyle MacLachlan as a crooked doctor angling for clemency by cajoling the patient to reveal his secrets during art therapy. The hook for the story ostensibly is the Feds’ quest to verify rumors of a $10 million stash Capone supposedly hid someplace but now can’t recall where. It chronicles the final year in Capone’s life, when he had been exiled to his Florida mansion and was being kept under government watch after neurosyphilis had begun turning his brain to mush during a decade in prison for tax evasion.
#Back to back drake critic review movie#
This movie is not going to win points for its handling of the indignities of dementia.
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#Back to back drake critic review plus#
Trank serves up not one but two scenes of inconvenient defecation, plus a deranged shoot ’em up conducted by Fonse wielding a shiny gold Tommy gun while wearing a saggy adult diaper under his bathrobe.
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What they don’t reveal is any kind of humanity to draw us in to his messy decline. That line suggests a sense of humor that’s mostly missing from Hardy’s grotesque caricature, a growling, mumbling, drooling thug chomping on a cigar stub, whose bloodshot eyes still seethe with menace behind his waxy latex mask. Alas, it’s not an interesting one, although the borderline self-parodying Method madness of Tom Hardy’s performance does kind of demand to be seen. Capone is definitely an unconventional take on the twilight of a notorious gangster. So with Josh Trank taking a more independent detour and seizing greater control as writer, director and editor on his return feature, it seemed reasonable to hope he might recapture some of the spark and invention of his 2012 debut, Chronicle. The generous view of 2015’s Fantastic Four might be that studio interference was at least partly responsible for that lumbering dirge of a superhero reboot going so badly wrong.