Capone Aims For Greatness But Instead Becomes a Real Mess

Al Capone was an American gangster and businessman who became a notorious crime boss during the Prohibition Era, and he has long since become a major figure in popular culture. Many actors have portrayed him over the years like Robert De Niro, Rod Steiger, Jason Robards, Ben Gazzara, Ray Sharkey, William Forsythe and F. Murray Abraham to name a few, and it certainly is a juicy role for any actor to take on as he became a character Shakespeare would have been proud to write about. The great Tom Hardy is now the latest to play him in Josh Trank’s biographical film “Capone,” one of the many films meant to be released in theaters but, because of the Coronavirus (COVID-19) epidemic, is instead making its debut on VOD. Whether or not it deserves this particular fate will depend on what you think about the finished product, and this one does come with a lot of baggage.

Whereas many films about Capone focus on his time as a feared crime boss, this one looks at his final year of existence. “Capone” starts off informing the audience of how the famed gangster was sentenced to prison on October 17, 1931 for tax evasion and released a decade later when he was no longer deemed a threat to society. When we first see him here, he is living in Florida with his family and close friends, and we see he is also afflicted with neurosyphilis and dementia which deeply affects the way he sees reality.

Before I go on, I should point out what neurosyphilis really is. According to Wikipedia, it is an infection of the central nervous system which can occur at any age, and “Capone” looks to illustrate how bad this disease can get. While the man is resting in retirement in Palm Island, Florida, his mind is quickly rotting away to where he begins suffering from hallucinations and loses control over his bodily functions. This results in him suffering from some embarrassing situations no one would ever want to be caught in, and I wondered how long he would allow himself to endure such unbearable torture.

I have seen Capone portrayed in many movies like “The Untouchables,” “Road to Perdition” (albeit in a deleted scene), “Mobsters” and “The St. Valentine’s Day Massacre” to where I feel lI know all there is to know about him. With “Capone,” I got to see another chapter which of his life which I was not as familiar with. It may not be as cinematic a story as his days as a feared crime boss, but it does provide us with a different look at a gangster when his mental capacities were fading rapidly. I also cannot think of a single film which has dealt with syphilis this intimately or in depth. Come to think of it, I’m not sure I want to. The word syphilis is an icky word even when you don’t know its meaning.

But as “Capone” goes on, I kept wondering what everyone here was trying to accomplish. Some filmmakers prefer not to spell out the meaning of their movies, and that’s fine. When it comes to this one, however, I am at a loss because everything becomes a huge mess long before the end credits. The filmmakers go only so deep into the gangster’s addled brain, or what’s left of it, and what we are left with is a lot of unpleasantness and a screenplay which could have used a lot more depth. What exactly was the point of showing us all of this? To make us understand how bad any kind of syphilis is? To see if Capone is worthy of forgiveness and redemption. A lot of questions are brought up, but I never found any satisfying answers.

The big draw here is obviously Tom Hardy, and I am prepared to see him in anything and everything. From a distance, he looks to be the perfect actor for this role having portrayed such villainous figures in “Bronson” and “The Dark Knight Rises.” But while he certainly has inhabited Capone as much as an actor can physically, his performance here is deeply flawed as he more often than not slips into caricature which sucks all the naturalism out of what I thought would be a fully formed character. This is especially the case when you take into account how his co-stars Linda Cardellini, Matt Dillon, Kyle MacLachlan and Kathrine Narducci slip into their roles so easily to where I never caught them acting. Basically, everyone seems to be on the same wavelength except Hardy who appears to be acting in a completely different film, and his bombastic portrayal is a shock considering what a reliable actor he usually is.

But when it comes to “Capone,” the person everyone has their eyes on is writer and director Josh Trank. Back in 2012, he made his big Hollywood breakthrough with “Chronicle,” a found-footage thriller which smartly transcended its genre and provided a huge boost to the careers of Michael B. Jordan and Dane DeHaan. Then he followed it up with the “Fantastic Four” reboot which rode a tidal wave of bad press all the way up to its opening, and quickly became a critical and commercial disaster which must have had a devastating effect on him. Thanks to this nightmarish reception, and to Trank’s tweet about there being a better version of the film which may never see the light of day, he looked to be forever consigned to director jail along with other filmmakers who blew their big chance at a long-lasting career. Still, we all love a comeback, and “Capone” certainly looked like it would wipe away the stench from the rare comic book/superhero movie flop.

I certainly wanted “Capone” to be a success for Trank, but while his filmmaking skills have improved, his screenplay is full of elements which never gel into a satisfying or cohesive whole. It is tempting to believe he relates to Capone’s hellish last year as it threatens to be quite similar to the battles he had with studio executives over “Fantastic Four” as the gangster deals endlessly with paranoia over paparazzi hiding in the bushes and of people he believes may be out to kill him. But when the film finally ends, I came out of it unsure what to think. In his attempts to continually go against the Hollywood grain, Trank instead alienates any audience this film hopes to have as he becomes more interested in rubbing our faces in Capone’s diseased state of mind instead of creating a truly compelling narrative.

Well, Hardy will certainly rebound from this misfire sooner rather than later. As for Trank, there’s always a chance at another comeback. I just hope that next time he works harder at creating a motion picture which is not so much anti-Hollywood, but one which transcends another genre the way “Chronicle” did. “Capone” certainly provides us with a unique look at one of America’s best-known gangsters, but when its all over, I could not help but wonder if it was a story worth telling.

* * out of * * * *

‘Tully’ Finds Jason Reitman and Diablo Cody Creating Unforgettable Cinema Once Again

Tully movie poster

Okay, as I write this review for “Tully,” the latest collaboration between filmmaker Jason Reitman and writer Diablo Cody, I have to confess I am not a parent. I have not experienced restless nights with a crying newborn who constantly needs a bottle of milk or a quick diaper change, and if I ever do become a parent, I am certain I will deal with it as well as my friends with kids have (which is to say, not at all). But after watching “Tully,” I feel confident in saying it is one of the more honest depictions of what a mother goes through before, during and after she gives birth. Whereas most movies conclude with the birth of a child, this one starts with one and goes from there.

Charlize Theron plays Marlo, a mother of two and with a third on the way. Her belly is so big to where she looks ready to burst at any second, and we also see how overwhelmed she is with everything and anything. Her son Jonah (Asher Miles Fallica) is an overly-sensitive boy who freaks out loud noises he is exposed to, and she is forced to give him more attention at the expense of her daughter Mia (Lia Frankland). When Marlo visits the principal at Jonah’s school and tells her this third child is “such a blessing,” you can tell she doesn’t fully believe it.

When Marlo does give birth to a girl she names Mia, it is one of the more unique birth scenes in movies. Most filmmakers treat the arrival of a newborn with unfettered joy, but “Tully” treats it dispassionately as Marlo is too wiped out and depressed to be happy about anything. For a moment, I feared this movie would venture into “We Need to Talk about Kevin” territory, but neither Reitman or Cody are out to make this story about a sociopathic child.

From there, Reitman presents us with a furious montage of Marlo constantly getting up in the middle of the night to take care of her crying baby, feed her, change her diapers (always an unappealing task), and pump milk out of her breasts. Sure, Marlo does have a loving husband in Drew (Ron Livingston), but he has yet to fully see the heavy toll motherhood is taking on her. It’s an unnerving montage as we keep waiting for Marlo to explode in frustration, and when she eventually does, you cannot blame her.

Marlo’s brother, Craig (Mark Duplass), comes to her rescue by offering to hire a night nanny. Marlo is at first very hesitant to let Craig do this as the thought of anyone else raising her children is terrifying, but one day after she is unable to stop Mia’s crying, she relents. The night nanny comes in the form of Tully (Mackenzie Davis), a youthful woman who quickly proves to be wise beyond her years. Once she comes into Marlo’s life, things begin to change for the better, but as the movie goes on, you wonder more about who Tully is and if she is too good to be true.

Watching “Tully” reminded me of many scenes in movies and television where I witnessed a mother losing her patience. We watched Marge Simpson roar like a lion at anyone who couldn’t possibly understand her frustrations, we were taken aback when Dee Wallace yelled at her son “alright I’ll get your daddy!” while being stalked by a rabid St. Bernard in “Cujo,” and we watched helplessly as Brie Larson tried to explain to her son what is really going with them in “Room.” Mothers will often explode in frustration, and many of the best movies about parenting portray this. As we see Marlo get upset with her kids, it is highly likely we will be reminded of the agony we put our own mothers through to where a long overdue apology may be required from us. “Tully” has several moments like these, and they are fully earned throughout.

Theron has long since proven to us what a phenomenal actress she can be. As Marlo, she gives a fully realized performance as a mother who looks like the joy she has for life has been completely sucked out of her. The Oscar-winning actress makes you feel the pain of Marlo’s situation as the character has long since reached her breaking point to where she seems like she cannot take another challenge thrown in her general direction. As the movie goes on, we see Marlo rise out of her depressed state to where she experiences happiness for what seems like the first time in ages. Theron makes us feel every note of Marlo’s anguishes and triumphs to where we cannot come out of this motion picture saying we were not the least bit moved.

As the night nanny, Mackenzie Davis proves to be such a luminous presence as Tully to where we realize this movie doesn’t just need her, it deserves her. A modern-day Mary Poppins, Tully predicts Marlo’s every move and need and gives her just what she needs to make it to the next stage in her life. Davis is best known for her work on “Halt and Catch Fire” and for appearing in one of my favorite movies of 2017, “Blade Runner 2049.” She gives off such a warm glow in “Tully” to where you just want to hug here and never let her go.

I also have to give credit to Ron Livingston who plays Marlo’s husband, Drew. It could have been a thankless role of a husband and father completely ignorant of his wife’s suffering, but the “Office Space” actor makes him more than the average movie dad. Even as Drew loses himself in video games which have him battling and killing zombies, Livingston makes us see he is a man with a good heart even with all his flaws. In his penultimate scene, Livingston doesn’t make Drew into a total schmuck who berates his wife when things go haywire, but instead into a spouse eager to admit he doesn’t know everything his wife is going through and is desperate to hear her out. I love it when Livingston says “I love us” instead of “I love you” as it shows the perspective and honesty Reitman and Cody are committed to giving this particular parental adventure, and it makes this moment between these two characters all the more special.

If I have any problems with “Tully,” they come in the second half when revelations are made to where we have no choice but to question everything we just saw I would tell you which movies these revelations reminded me of, but this would be giving away way too much. But while these revelations could have wrecked any other motion picture, they do little to take away from this one.

“Tully” marks a big comeback for Reitman and Cody after a few years of cinematic misfires. “Labor Day” and “Men, Women & Children” put a few dents in Reitman’s resume as a director, and Cody’s directorial debut “Paradise” and screenplay for “Ricki and the Flash” (0ne of Jonathan Demme’s last films before his death) were ill-received to put it mildly. But when these two artists come together, they create something which is never easily forgotten.

Reitman makes the struggles these parents go through all the more vivid without making them seem the least bit glamorous. “Tully” does not have the look of a motion picture to where you feel like you are watching one, but instead of a real life setting with all its messiness and imperfections on display. At times, I felt like I was watching a home movie, and this made everything I saw feel all the more powerful.

As a writer, Cody still comes up with some classic zingers like “abandoned trash barge” or describing someone as a “book of fun facts for unpopular fourth graders,” but her screenplay also shows her rising to another level of thoughtfulness and maturity. Being the mother of three children herself, Cody clearly understands the journey such a person ends takes to where the mother/newborn connection is not forged right away. There has been some controversy over “Tully’s” portrayal of mental illness, and it is never made clear if Marlo is suffering from post-partum depression or something similar. Cody, however, is not out to make Marlo a special case study, but instead to share the challenges she was forced to overcome to be the mom she is today.

I think it is more than appropriate that “Tully” has arrived in theaters just in time for Mother’s Day. Lord knows we owe our mothers a great deal of gratitude for all they have done for us, let alone all they have gone through to get us to where we are today. Sure, dads deserve a lot of credit too, but being a mother comes with a lot more challenges and obstacles to overcome. If this Reitman/Cody film cannot make you see this, then what will?

* * * ½ out of * * * *