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House of Gucci plays everything entirely straight in one of Ridley Scott’s most formulaic and by-the-numbers movies thus so far, and this man has made workmanlike dramas in the past like American Gangster and Body of Lies, with both elevated above their status due to the performances of the lead actors. If you’re having the main cast speak English, you might as well go the whole way. Furthermore, the lack of commitment of Scott to accents/The Italian language is misplaced – everyone feels all over the place and there’s weird language choices where the television and the newspapers are in Italian, but everyone speaks in English. The slow pace is at a crawl – and the overused, tired needle drops like Heart of Glass that dominated a badly-edited trailer add nothing to the film other than to again, illustrate its bluntness and to remind you of the era its set in. The film spends so much time with Leto that it could have easily not only cut out most of it and been a better movie, but a shorter one too – it’s three hours long and feels every minute of it. His accent is atrocious and the fat suit just feels unnecessary, and the whole thing could have been completely avoided if Scott had just cast an actor that looked the part. I still don’t get what Hollywood’s obsession with him is as he’s flat out been awful in everything he’s been in, and he single-handedly sinks House of Gucci every time he’s on screen with a performance that feels like he was told to play someone as offensive as possible – almost feeling like a cartoon character brought to life.
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Jeremy Irons’ Rodolfo illustrates the split between old and new money by clinging onto the past – but as with The Last Duel, Scott has never been subtle – the first time we meet Rodolfo he is drenched in past glories, refusing to move on – and the distinct lack of subtly means the bluntness to House of Gucci feels like a sledgehammer, every point is overstated and oversaturised for all its worth – nothing is left in the realm of chance, and more depth would have been appreciated outside of Gaga and Driver because almost everyone here feels entirely one-note, with the biggest offender of them all being Jared Leto. The performances across the board are mostly superb – Lady Gaga absolutely steals every scene she’s in giving powerful nuance to Patrizia, the woman who would later go onto plot to kill her husband after being cut from the family – and Adam Driver’s calm, stoic and understated performance almost feels like a reversal from his cocky, dirtbag nature of The Last Duel.
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But with all that wealth, reputation and royalty – it feels like a curse, too – as its characters involved are about to find out.Īfter the patriarch dies and his son, Maurizio, marries an ambitious social climber Patrizia, a full on power struggle begins between the remaining Guccis as Patrizia tries to elevate the status of her husband within the family. House of Gucci is the second Ridley Scott movie this year – on the heels of the underwhelming but ambitious The Last Duel, he delivers a tale of the ultimately doomed Gucci family, one of the wealthiest a name synonymous with power and style.