The real reviews of House of Gucci are beginning to come in

Mio Duce.

the ny Post? really op?

Are you a MAGAt?

Youre fucking high GaGa hater...the reviews have been very good with an occasional outlier from the GaGa haters like you.

The headline for the LA Times seems good for Gaga.

Anyone have a subscription?

I like some of her music but Jesus H Christ she's one ugly broad! Put a bag over her head and cut in a hole in it near her mouth so she can still sing.

That’s the one awful review and it’s by a trump loving magat tool.

R6 Do you ever have a conversation that doesn't reference Trump?

Amazing costumes, worthy of the subject

The reviews have been less than glowing and several cited the poor dialog and cliched characters and measured praise from some for Gaga.

Gaga has received some raves.

Fuck off, you fat ugly NY POST cunt troll OP. Fuck off with your cuntwhore mother too.

House of Gucci review – Lady Gaga murders in style in true-crime fashion house drama Lady Gaga as Patrizia Reggiani in The House of Gucci.

Ridley Scott’s pantomimey soap entertainingly tracks fractures in the fashion world as Patrizia Reggiano plots to kill her ex, Maurizio Gucci

House of Gucci” that will make your jaw drop (which, of course, is one of the best things that can happen at the movies), and moments you’ll laugh at the sheer audacity of what you’re seeing, but just because the characters in a drama behave in an over-the-top shameless manner doesn’t mean that the film that’s observing them is over-the-top. “House of Gucci” is an icepick docudrama that has a great deal of fun with its grand roster of ambitious scoundrels, but it’s never less than a straight-faced and nimbly accomplished movie.

Directed by Ridley Scott, in what is easily his finest work since “Gladiator,” the film is absorbing because it takes the world it shows us on its own coldly flamboyant terms. “House of Gucci” is modeled fairly directly on “The Godfather,” and as soon as you say that it can sound like you’re making some ridiculous undue claim for it. I’m not saying that it’s in that league as a movie. (What is?) But the greatness of “The Godfather” was, in part, the way it navigated the hidden shoals of power, and “House of Gucci,” which is a kind of fashionista Godfather Lite, is a sophisticated true-life tale about the way that power actually works: in a business empire, in a family, among people who are supposed to be looking out for each other. That may be the stuff of soap opera (and “The Godfather,” as a novel, had links to the meaty potboilers of Harold Robbins), but when it’s done this well soap opera becomes intoxicating human drama.

She sucks. Being a “lady gaga” fan in the year 2021 should be shameful and embarrassing .

Lady Gaga and Jared Leto are brilliantly over-the-top in an epic fashion saga that's in constant conversation with its own campiness.

Patrizia Reggiani — or at least the Mad Magazine caricature of her that Lady Gaga carves from the tabloids with Michelangelo-like artistry and precision — is one of modern cinema’s most voracious money monsters. And while the actress who so vividly embodies her in Ridley Scott’s “House of Gucci” might insist that Reggiani married the reluctant heir to Milan’s greatest fashion empire for love and not the greed that she later grew into, everything we see on screen suggests that some Machiavellian bloodsuckers are just born that way (perhaps a pinch of self-delusion is necessary for Gaga’s bone-deep commitment to the bit).

LAT review has lavish praise for Gaga.

Owen Glieberman (whom I've always respected) likes it and loves the Lady Gaga.

Review: Lady Gaga brings down the ‘House of Gucci’ in Ridley Scott’s lavish couture-clash drama

And now along comes “House of Gucci,” Ridley Scott’s canny and engrossing movie about an Italian luxury brand and a family brought low by greed, fraud and vicious infighting, plus a notorious black widow played by a coldly electrifying Lady Gaga.

Agree R5. She's really unattractive. Don't know what it is about her face. It's like she has a permanent sneer or something. Watched A Star Is Born and all I could think was how ugly she was. It was distracting. And her thinking she's some kind of great actress is hilarious.

didn't anyone mention that it's 2hrs and 36 mins long? It seems like a Harrold Robbins novel ala 'The Betsy'. It might be fun, but I doubt the Academy is going to take it seriously.

Why fat butch R19 is talking to herself at R5? Why? Insanity?

Gaga demonstrates again that's she's a mesmerizing acting phenom. As Patrizia, she's adorable, sexy, smart, and almost uncomfortably relatable.

The LA Times review:

Monarchies may fall and empires may crumble, but for the moment, epic family dynasties still reign with a vengeance on the screen. Those impatient to learn what awaits House Roy in “Succession” can tide themselves over in the meantime with “Dune,” with its futuristic clash between the spice barons of House Atreides and House Harkonnen. Or perhaps they might warm themselves with the fiery antiroyalist screed of “Spencer,” which tracks Princess Diana’s desperate flight from the House of Windsor. And now along comes “House of Gucci,” Ridley Scott’s canny and engrossing movie about an Italian luxury brand and a family brought low by greed, fraud and vicious infighting, plus a notorious black widow played by a coldly electrifying Lady Gaga.

We get a taste of that bitter end at the beginning. The movie opens on March 27, 1995, mere minutes before Maurizio Gucci (Adam Driver), the fashion house’s former head, is gunned down in Milan by an assassin hired by his vengeful ex-wife, Patrizia Reggiani (Lady Gaga). Scott cuts away before the killing occurs, in a way that can’t help but echo the violence-anticipating prologue of “The Last Duel,” his recent movie about the travails of a 14th-century Frenchwoman. Here, hundreds of years later, is another moment of calm before the storm and also another story of a woman caught up in an overbearingly male world of power and intrigue.

One crucial difference is that while the heroine of “The Last Duel” is sold into a bad marriage, Patrizia wills herself into one. She’s at a party in Milan in 1970, giving off Elizabeth Taylor vibes in a head-turning red dress, when she first meets the diffident, bespectacled Maurizio, who’s so awkward — but charmingly so — that it takes her a beat to realize he’s the heir to the famous Gucci fashion house. A reluctant heir, admittedly, who plans to practice law, shows little interest in the family business and is entirely naive about why Patrizia might have him locked in her sights. They soon marry, defying Maurizio’s father, Rodolfo Gucci (an elegant, exacting Jeremy Irons), who takes one look at his future daughter-in-law and guesses what she’s after.

It’s hard to see how anyone couldn’t guess, since Patrizia’s darkly glittering eyes, which stop just short of burning holes in the screen, so nakedly telegraph her every desire. As in her previous unhappily ever after Cinderella story, “A Star Is Born,” Lady Gaga temporarily dons a working-class shell, downplaying her natural magnetism in order to maximize it. Before long, Patrizia stands revealed for what she is: an avatar of ambition and, like Gaga herself, a couturier’s delight, born to wear the silver-sequined evening gowns and furry après-ski ensembles dreamed up for her by costume designer Janty Yates. More than anything, Patrizia is a woman of insatiable hunger: She practically devours Maurizio in one molto vigoroso sex scene, and she looks ahead to the day that his millions — and his powerful place within the competitive Gucci family hierarchy — will be hers as well.

The bonds of family are extended first by Rodolfo’s brother and business partner, Aldo Gucci (a boisterous, affectionate Al Pacino), who welcomes his new niece with open arms. He’s the company’s entrepreneurial genius, the one who continued his father Guccio’s mission to transform a Florentine family-run business into a global brand. Maurizio and Patrizia soon relocate to New York (and have a young daughter, Alessandra) to work in Gucci’s Manhattan stores. And before long, Rodolfo is dead, leaving his half of the company (in a roundabout fashion) to Maurizio and setting a furious round of power plays in motion. There are stormy confrontations and hostile takeovers, forged signatures and prison sentences, grim financial assessments and odd psychic readings (the last delivered by Patrizia’s friend and future accomplice, Pina Auriemma, played by a very game Salma Hayek).

Patrizia takes a keen pride in the business — the market for cheap Gucci knockoffs infuriates her — and, like a chain-smoking, mud-bathing Lady Macbeth, spurs her husband toward increasing acts of ruthlessness against his own family. One of their easier marks is Aldo’s black-sheep son, Paolo, who fancies himself a great designer but whose incompetence and vulgarity seem to seep out of his pores like sweat. He’s played by Jared Leto, unrecognizable under a bald pate and prosthetic jowls, in the kind of garishly extreme transformation that has become this actor’s lip-smacking MO. It’s an attention-grabbing stunt; it also works like gangbusters, particularly because Leto’s performance — hilarious, sympathetic, full of tragicomic pathos — feels precisely scaled to the demands of a movie that often revels in its own posh, padded vulgarity.

I mean that mostly as praise; it’s also a sure sign that Scott and his collaborators — including screenwriters Becky Johnston and Roberto Bentivegna, here adapting Sara Gay Forden’s 2000 book — have fully comprehended their subject. The line between art and trash is always a porous one, in high-end goods as well as cinema. And not unlike some of the totems of luxury on display here, “House of Gucci” is a calculated, highly controlled amalgam of the stylish and the tacky. It’s also remarkably savvy about the inherent kinship between fashion and cinema, something Rodolfo himself acknowledges when he reminisces about his own past career as a film actor, as well as the iconic floral scarf he commissioned for Grace Kelly.

This is a company that, at least since Ingrid Bergman clutched a bamboo-handled Gucci bag in Roberto Rossellini’s “Journey to Italy,” has long relied on Hollywood’s glamour icons to sell its pricey wares. And so there’s something fitting, even respectful, about the sheer number of movie stars that have been pressed into service here. Throwing subtlety to the wind with wild gesticulations and exaggerated Italian accents, they may flirt with and sometimes tumble headlong into stereotype, but they do so with a verve and commitment that, for the better part of 2½ hours, disarms judgment and suspends disbelief. One man smokes, another talks and three people sit on a sofa in the movie "House of Gucci." Jared Leto, Florence Andrews, Adam Driver, Lady Gaga and Al Pacino in the movie “House of Gucci.”

Were any of these characters really this awful or this riveting? Did any of it actually happen this way? Possibly. More or less. Of course not. As in any slick bio-fiction, characters have been excised, timelines fudged, perspectives distorted. And yet, even amid the inevitable simplifications and exaggerations, it all coheres, with a kind of implacably grim logic, into an extended cautionary tale about how family and business shouldn’t mix. That lesson is hastened by various outsiders and opportunists, including formidable Gucci lawyer Domenico De Sole (a chillingly poker-faced Jack Huston), maverick Texas designer Tom Ford (Reeve Carney) and the private equity firm Investcorp, all of which will do their part to separate the family from the company that bears its name.

“House of Gucci” will surely do its part to burnish the brand, even as it gleefully airs two decades’ worth of dirty (but still utterly fabulous) laundry. But Scott, now 83 and an ever more clear-eyed, dispassionate observer of how power and industry operate behind closed doors, doesn’t go out of his way to fetishize the inventory. He and his director of photography, Dariusz Wolski, shoot the Gucci family’s executive suites and luxe residences in muted grays, lending an often-sepulchral cast to the shadowy interiors and the actors’ faces. And they are no more intoxicated by the sight of double-G belts and Horsebit loafers than they were by the barrels of cocaine rolling through “The Counselor,” Scott’s brilliant 2013 thriller about a lawyer’s disastrous swerve into the Mexican drug trade.

Although it too focuses on an outsider who makes the mistake of fancying themself an insider, “House of Gucci” doesn’t have that earlier movie’s blistering nihilism. It’s a fashion show, figuratively and often literally, and its cutthroat dynamics are lightened with heavy dollops of foam and froth. If anything, its utter fascination with its characters, its refusal to condemn even the most irredeemable of them, gestures toward its most significant and obvious cinematic influence, “The Godfather.” There’s Leto’s dead-on channeling of Fredo Corleone; there’s also Pacino and, just as important, Driver’s eerie channeling of Pacino in the movie’s subtlest performance. You may think of Michael Corleone as Maurizio transforms from a quietly principled Gucci agnostic into the fortune-squandering head of the whole empire, his star rising even as his marriage goes spectacularly south.

But that’s more or less where the comparisons end. There is, for one, no “Godfather” equivalent of Patrizia Reggiani, and no one in “House of Gucci” who can ultimately contend with the force of nature that is Lady Gaga. In a movie that delights in its own counterfeit charms, she is very much the real deal.

‘House of Gucci’

Rated: R, for language, some sexual content and brief nudity and violence

Running time: 2 hours, 38 minutes

Playing: Starts Nov. 24 in general release

I just saw it and I can say her performance was spectacular and mesmerizing.

She lost me when she tried to get Britney to make out with her, what a little attention whore. She's talented but what-ev-ahhhh.

Saw the movie today:

- the movie is 3 HOURS - it's a long hard sit; they just waste too much time on the Jared Leto character. Even though Al Pacino is doing his Al Pacino thing, at least he's compelling to watch

- Jeremy Irons & Jack Huston did not manage the accent at. all. Most accents were all over the place, but their accent (or lame attempt) was noticeably bad

- You never get a sense of who Maurizio/Adam Driver is; the just seems like this blank page that's filled by the more charismatic & entertaining members of his family. He's so blank that you never can quite figure out why he threw away everything to marry a clearly grasping & greedy woman well below is station. I think it didn't help that while LG isn't unattractive, she's no great beauty either.

- The Lady Gaga character kind of reminded me of an italian Betty Broderick; she does the heavy lifting for her husband, but when he finally hits the big time, he dumps her for a younger, attractive woman.

- There seemed to be an interesting story about how an iconic brand lost it's way due to family members that made the business about personal ego rather than - you know - the end product. But instead, you watch the movie admiring the impressive wigs

Good or bad (or both--think BD in "Baby Jane"), Lady Gaga is a fireball in the movie...but when she's not around, it dies the death. The terrible accents, Jared Leto-who has as much to do with reality as Yosemite Sam--and Adam Driver, repellent in his aviator glasses (for long stretches, it's HIS movie)....forget it.

Gaga is getting Oscar buzz for her performance, and it looks like it's doing well at the box office. She'll receive a nomination but probably won't win.

[quote] Lady Gaga and her terrible movie are shallow

As opposed to The Avengers Part 23

She looks like Delta Burke’s uglier sister in OP’s linked article. Way uglier sister.

Hmmmm.....I thought I read somewhere that GaGa's performance was Oscar worthy....

WSJ found the film "... so insistently campy yet painfully mirthless- its style lies somewhere between opera buffa and telenovela... A woman sitting next to me at the screening laughed all but uncontrollably throughout"

Defacto finally found a review of the movie he could live with

Why can’t people just enjoy her? She’s 100% entertainment.

Delta Burke realness!*

*said with deep affection for both queens

[quote]She's really unattractive. Don't know what it is about her face.

Her nose and middle area of face protrude like a triangle-shaped half of agrilled cheese sandwich. Think Lois Griffin, in profile.

I shall wait for the respectable papers and their reviews, thank you very much. The same thing I do with all of my films.

All the “rave” reviews in the world won’t entice me to see it in a theater.

But when it comes to cable or streaming, I’ll watch it. Not in a huge hurry.

Wow I thought that was Suzanne Sugarbaker at first.

In the singer-to-actress category, Gaga is still much better than Madonna, who brings new meaning to the words, 'wooden actress'.

Movie was garbage. Glad I rented it for a few bucks instead of buying it.

I usually put off watching hyped movies until the shine is well off and I can watch them objectively.

I'm a half hour into House of Gucci and so far I am really impressed with all the principal actors. Gaga is charming and, dare I say, cute. I know the character will become predatory but for now, this is a love story and she is doing very well.

Adam Driver is really great and I think he's an ideal onscreen love interest for Gaga—they make sense together visually. I don't doubt their relationship at all.

And Jeremy Irons is excellent.

It doesn't feel like a big marquee movie but it feels better produced than a TV movie. There's not a ton of story so far but it's been very enjoyable.