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At one point during
Capone, Tom Hardy, as the ageing mobster, goes on a deranged shooting spree wearing a dressing gown, a carrot stuffed in his mouth like a stogie and mowing people down with a solid-gold Tommy gun. It’s an image that crystalises the ups and downs of Josh Trank’s first film since the 2015
Fantastic Four debacle. It’s unhinged, and lacks subtleties and depths, but also has an imagination and out-there-ness that is rarely found in franchises. In detailing the last year of the gangster’s life,
Capone is neither the magnificent phoenix from the ashes you’d hope for nor the total misfire some US reviews suggest. At the very least, here is a filmmaker (Trank writes, directs and edits) shooting for the stars; sometimes he hits, sometimes he misses.
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