House of Gucci (2021)

The critic finds the film smart, funny, camp and thoroughly entertaining. She particularly praises Lady Gaga’s witty, shape-shifting performance and exuberant sense of fun.

Gleiberman finds the film an absorbing, sophisticated drama about power, though it is not the campy spectacle some might expect. He especially praises Lady Gaga’s performance for revealing both Patrizia’s ambition and her underlying sincerity.

Ehrlich finds the film a shrewd, divided satire whose tension between camp and seriousness gives it bite, though its blunt direction grows wearying. He singles out Lady Gaga’s vivid, controlled performance as the film’s defining strength.

The review finds the film entertaining and often interesting, despite its length and shaky accents. It praises Lady Gaga’s performance and the sumptuous costume design, while singling out Jared Leto’s distracting turn as a weak spot.

Chang finds the film canny, engrossing and stylishly attuned to the overlap of luxury and tackiness. He particularly praises Lady Gaga’s coldly electrifying performance as Patrizia Reggiani.

The critic finds the film a thoroughly enjoyable, operatic tragi-comic triumph. They single out Lady Gaga’s mesmerising performance and praise Salma Hayek’s scene-stealing comic delivery.

Newland calls it a gloriously trashy, chaotic film whose faults help make it an entertaining cult classic. She singles out Lady Gaga’s commanding performance as Patrizia for making the film hypnotic despite its flaws.

Kermode finds the film entertaining but sometimes ridiculous, and says it falls short of the camp classic its trailer promised. He praises Lady Gaga for steering a steely path through the madness, while criticizing Jared Leto’s over-the-top performance.

The critic finds the film an infectious, bizarre bit of fun, though its operatic story feels strangely undramatic. They single out the oversized performances, especially Jared Leto’s wildly entertaining turn.

The review finds the film flawed but fun, with plenty to relish. It specifically notes pacing issues and tonal inconsistency.

The accessible standfirst frames the film as a heightened step into the world of Italian luxury goods. It singles out the murderous world and high-heeled style, but the review’s full verdict is unavailable.

The page was inaccessible, so the critic’s verdict cannot be determined. No specific praise or complaint could be verified.

Rife finds the melodrama entertaining in flashes but too restrained and meandering to achieve the camp spectacle it promises. She singles out Lady Gaga’s magnetic performance and extravagant wardrobe, while criticizing the weak script and slow middle stretch.

The review finds the film an enjoyable, high-camp drama. It singles out Lady Gaga as the best thing in the film.

Smith finds the film a flashy, trashy guilty pleasure, though its bombast and tonal missteps blunt its impact. He praises the extravagant performances and lavish fashion, especially Jared Leto’s comic turn as Paolo.

Willmore finds the film entertaining but shapeless, with its promise exceeding its execution. She singles out Lady Gaga as wildly watchable, saying the film works best when it centers on Patrizia.

The critic finds the film a straight-laced, incoherent slog that fails to deliver the melodramatic crime drama its story promises. He singles out Jared Leto’s campy Paolo as a rare source of vitality.

Rooney finds the film muddled, overlong, and tonally inconsistent, though entertainingly camp in places. He singles out Lady Gaga’s magnetic performance as its main source of energy.

Brody finds the film hollow and style-challenged, criticizing its shallow storytelling and missed social and psychological depth. He praises Lady Gaga’s exuberant, commanding performance as the chief force that sometimes lifts the movie above its limitations.

The review finds the film chaotic but wildly entertaining, blending high fashion, high camp and tragedy. It singles out Lady Gaga’s bravura performance, while noting the film’s tonal unevenness.

Goldberg finds the film uneven and unsure whether to play its story straight or as a farce. He praises Jared Leto’s wildly entertaining performance, while faulting the thin characterizations and unclear motivations.

The critic finds the film entertaining but uneven, and thinks its clash of prestige drama and trashy soap opera holds it back. Lady Gaga’s performance and the cast’s exaggerated accents provide much of the amusement.

The review finds the film entertaining and sumptuous, though overlong and weakened by sagging pacing. It singles out Lady Gaga’s beguiling, theatrical performance as its greatest strength.

Worthington presents the film as a mixed tug-of-war between camp and crime drama. He singles out its lavish fashion-world style, while questioning its Italian authenticity.

Crow finds the film unwieldy and ultimately boring, despite its potential for a campy tragedy. He praises Lady Gaga’s commanding performance and Scott’s painterly visual detail.

The review finds the film dry and uneven, with the murder largely an afterthought. It praises Lady Gaga’s screen presence but says her performance cannot overcome the dull business-focused story.

The critic finds the film overlong and inconsistent, with its historical details and theatrical flourishes undermining its impact. He praises Lady Gaga’s powerhouse performance but says it cannot carry the film on its own.

The critic finds the film dull and tentative, despite its potential to become a camp classic. Jared Leto’s performance stands out as unforgettable, whether it is the best or worst of his career.

Nayman finds the film a shapeless, shallow piece of designer trash, with performances that often overwhelm it. He praises Adam Driver’s restrained work but faults the indifferent style and Jared Leto’s distracting excess.