Capone it’s a biopic confused and pretentious that runs between the ghosts of the past and the tedious routines of the present of a sick man, confined at 48 years in a luxurious Florida farm as a result of the devastating effects of a severe dementia caused by syphilis. Focusing on the twilight of the life of the famous Prohibition gangster, specifically in his last year of life, the film aims to introduce the viewer into the shattered mind of a monster played by a histrionic and almost unrecognizable Tom Hardy. The wife who gives life Linda Cardellini, the doctor in the skin of Kyle MacLachlan or the dead friend that Matt Dillon evokes simply accompany the main character in this panoramic through the nightmares of his pathetic end.
Megalomaniac and powerful, destiny has in store for the Chicago underworld boss agony in diapers, with a carrot instead of his inseparable cigar, the snot hanging and the snarls of a wounded orangutan. Besides the pathos of this cartoon, Capone does not contribute much to a character whose bloodthirsty and famous life has inspired countless films, including comedy, and especially noir classics such as the mythical Scarface, the terror of the underworld (1932) by Howard Hawks, with Paul Muni as the murderer. Also, in the sixties, The Valentine’s Day Massacre by Roger Corman or, already in the eighties, The untouchables of Eliot Ness, by Brian de Palma, where Robert De Niro contributed the last cry to the popular memory of the bloody myth: a baseball bat. Now, Capone seems to want to add some insight into the family ties of a criminal as historical as trite and who at this point needs a sharper approach than the one offered by Josh Trank (Chronicle, Fantastic Four) in this failed movie.