IronWatcher’s review published on Letterboxd:
Watched in the cinema (66th visit in 2021-a new record🥳)
When the first pictures of the "House of Gucci" set appeared, the titular family was horrified. The cast proved to be pure miscasting, the actors were far too ugly. Al Pacino and Jared Leto in particular were harshly criticized by one of the representatives of the Italian fashion dynasty, who accused the production on behalf of the entire family of misusing the Gucci image as a Hollywood label for the sake of profit. The fact that the film has already increased brand interest and boosted sales of Gucci products shortly after its U.S. release gives the Gucci family's statements an almost ironic flavor.
Thus, Ridley Scott's latest work about the titular fashion moguls paints a picture of a battle of intrigue and betrayal that spans decades and illustrates how profitable an act of passion, such as the murder of a human being, can be for a business empire. However, what at first sounds like a classic family epic that demonstrates the lust for the wrong life and negotiates precisely this capitalist rationality of purpose turns out to be a cliché collage that can be (mis)interpreted in the veil of satire and gets lost somewhere between melodrama and highly stylized soap opera.
For "House of Gucci" is littered with superficial decadence, mass ostentation, cold ignorance, and space-consuming egos that hardly offer any room for a spark of sympathy. In itself, the squad of dishonorable and ice-cold actors and actresses provides plenty of fodder for a biting family fight, but the fact that behind this glamorous facade there is nothing more than a great disappointment has already been staged by numerous filmmakers in a much more sophisticated and, above all, more exciting way. As a result, the film ultimately becomes a prime example of the contentless decadence that it itself attempts to criticize.
What the spectacular story ultimately lacks is the spectacular. Where the consistently excellent cast shines, the narrative trudges from one key moment to the next, not infrequently evoking the sense that it has temporarily reached a dead end. "House of Gucci" lacks pacing, finesse, and the meaningful drumbeat behind the swanky glory, making the film feel much more like a long-winded encyclopedia entry transplanted to the screen. So even the top-notch stars can't save much, despite respectable performances. What remains after 158 minutes of "House of Gucci" are good acting performances and an inherently interesting story draped in the guise of supposed glamour.