When Patrizia Reggiani, an outsider from humble beginnings, marries into the Gucci family, her unbridled ambition begins to unravel the family legacy and triggers a reckless spiral of betrayal, decadence, revenge, and ultimately… murder.
House of Gucci split critics almost evenly, with the central fault line being whether its wild tonal swings — lurching between sincere melodrama and outright camp — read as a feature or a bug. Lady Gaga's committed performance drew near-universal admiration, but Jared Leto's Paolo divided audiences sharply, inspiring both delight and eye-rolling in roughly equal measure. Audiences warmed to the film considerably more than critics did, a gap notable enough to draw comment from industry observers.
“Ridley Scott's film is a trashtacular watch that I wouldn't have missed for the world. But it fails to settle on a consistent tone — overlong and undisciplined as it careens between high drama and opera buffa.”
David Rooney·The Hollywood Reporter
“The movie the trailer is selling is actually a little more dishy and wild than the real House of Gucci, which would be a pointless and somewhat perfunctory dud if it weren't for the brilliance, or madness, of the performances.”
Alissa Wilkinson·Vox
“Adam Driver (who has now played a French squire and an Italian fashion heir in consecutive Ridley Scott movies) and Lady Gaga have legit chemistry together, and it's still a kick to see Al Pacino roaring like a lion in winter. But Hayek and Irons are playing cardboard-thin characters, Leto flounders about as if he's in a movie all his own, and House of Gucci feels coldly calculating when it should have been flush and warm with scandalous sensationalism.”
Richard Roeper·Chicago Sun-Times
“while others adopt faintly ridiculous Italian inflections, Leto delivers his lines in a string of high-pitched whoops that suggest he is attempting to communicate with whales”
Mark Kermode·The Guardian
Drama, Crime, History
When Patrizia Reggiani, an outsider from humble beginnings, marries into the Gucci family, her unbridled ambition begins to unravel the family legacy and triggers a reckless spiral of betrayal, decadence, revenge, and ultimately… murder.
House of Gucci split critics almost evenly, with the central fault line being whether its wild tonal swings — lurching between sincere melodrama and outright camp — read as a feature or a bug. Lady Gaga's committed performance drew near-universal admiration, but Jared Leto's Paolo divided audiences sharply, inspiring both delight and eye-rolling in roughly equal measure. Audiences warmed to the film considerably more than critics did, a gap notable enough to draw comment from industry observers.
“Ridley Scott's film is a trashtacular watch that I wouldn't have missed for the world. But it fails to settle on a consistent tone — overlong and undisciplined as it careens between high drama and opera buffa.”
David Rooney·The Hollywood Reporter
“The movie the trailer is selling is actually a little more dishy and wild than the real House of Gucci, which would be a pointless and somewhat perfunctory dud if it weren't for the brilliance, or madness, of the performances.”
Alissa Wilkinson·Vox
“Adam Driver (who has now played a French squire and an Italian fashion heir in consecutive Ridley Scott movies) and Lady Gaga have legit chemistry together, and it's still a kick to see Al Pacino roaring like a lion in winter. But Hayek and Irons are playing cardboard-thin characters, Leto flounders about as if he's in a movie all his own, and House of Gucci feels coldly calculating when it should have been flush and warm with scandalous sensationalism.”
Richard Roeper·Chicago Sun-Times
“while others adopt faintly ridiculous Italian inflections, Leto delivers his lines in a string of high-pitched whoops that suggest he is attempting to communicate with whales”
Mark Kermode·The Guardian
Drama, Crime, History