Tom Hardy, Tom Hardy's latest weird voice co-star in Capone trailer
Aux Features Coming Distractions
Few actors have plunged themselves further into the depths of Weird Voice Acting more enthusiastically than Tom Hardy, an undeniably charismatic performer whose dedication to his “I don’t know, it’s kind of Marlon Brando but with an oil monster jutting out of his neck” accent stylings must consistently be heard to be believed. Now we’ve got a brand new installment in the Hardy Weird Voice Canon, courtesy of the new trailer for Josh Trank’s Capone.
Set in the latter days of the infamous mobsters life, this is Trank’s first film since the career-sidelining debacle that was the most recent Fantastic Four movie. And while Capone has been played in many ways, by many people over the years, the film definitely looks like it’s going for less biopic, more dreamy, violent weirdness, as it centers on the aging gangster (Hardy), who may or may not be faking dementia in order to keep federal investigators off his back.
Capone also co-stars Linda Cardellini, Noel Fisher, Jack Lowden, Matt Dillon, and Kyle MacLachlan.
47 Comments
If not for the virus I’d make some kind of joke about this being direct to VOD. At any rate I hope Josh Trank gets his mojo back with this one. First time I’ve used the word “Mojo” in a while. Not sure how I feel about it.
Sounds like you aren’t having enough discussions about mojo potatoes.
Challenge accepted!
I for one will continue to try to make “Trank” a verb meaning self destructive failure, as in “he sure tranked that one.”
Cardi B sure Tranqed that john…am I doing this right?
Don’t forget its noun counterpart, the “Cimino.”
Cimino finds redemption by being a consummate visual artisan. His storytelling may be suspect, but he puts every penny of his budget on screen. Trank is just…
What mojo? The guy’s directed two films: one being pretty good and one being dogshit. Fantastic Four was so bad that I was actively forgetting the movie as I watched it. I couldn’t explain anything about the movie if my life depended on it.
Mojo? Chronicle was a mess, (Trank isn’t a very good writer, and Max Landis is… well unfortunately he’s Max Landis), and the directing/gimmick was awful. It’s a found footage film with very obvious edits that forgets it’s a found footage film at multiple points through out the movie.Fant4stic has the bonus of Trank AND Simon Kinberg, an even bigger hack than Landis. That movie… oh boy, I feel like the reshoot stigma really made people gloss over the fact that, studio mandated reshoots aside; the movie was shit to begin with. I think my favorite scene was toward the beginning, when adult Miles Teller is still competing in a science fair with 8 year olds (that legit have home made volcano dioramas)… with his teleportation machine, to which every (other) adult in the room is not amazed by.
Miles Teller is a hack that Hollywood thought could turn a profit from a cheap production, until they realized he couldn’t. I’d feel bad for him if he weren’t an arrogant prick.
*sidenote* The best thing about the fant4stic movie was “The Thing Burger” at denny’s. That baked cheddar potato roll bun was delicious.
Did this burger by any chance come with a side of mojo potatoes?
Pray for Mojo
My favourite bit of ‘Fant4stic’ is when Sue Storm says, “Listen to Doctor Doom over here”, which would have been a funny tongue in cheek line back when the script had his character named Victor Domashev, but in the new script is just her saying his actual name.
I’m pretty sure everyone in that scene either makes a face, or rolls their eyes… Victor flips her off I think. All for someone using his name correctly, but calling him a “doctor” I guess was offensive?
I’m kinda surprise they let Josh Trank out of Hollywood jail.
Yeah you don’t tend to keep a career in Hollywood when you publicly badmouth a studio like Trank did.
My first thought as well. Normally, the main draw for me would be Tom Hardy playing Capone, but I’m honestly curious about seeing if a director can survive a famously career ending debacle.
He’s approaching middle age, and as a near middle aged white man he can probably only fail upwards at this time.(Seriously though, brilliant female directors have lost their careers for far less than what Josh Trank does)
Name two and what they did and how it led to them losing their careers.Name one.
Penelope Spheeris of “Wayne’s world” fame is the one who immediately comes to mind. She directed one of the most successful comedies of the time period, but clashed creatively with Mike Myers (who by all accounts is a dick behind the scenes). Myers got her fired from the sequel and after another few years of struggle, she was basically cast out of Hollywood. She did a recent interview on AV club where she spoke about the hypocrisy of Hollywood that Oliver Stone can make a colossal bomb like “Alexander” and suffer no consequences but female directors get eliminated fast.She’s thankfully turned a corner now, but Patty Jenkins directed an Academy award winning movie in “Monster” and struggled for nearly 20 years to get another film going. She was languishing in television inexplicably (even directing episodes of Entourage). Kimberly Peirce made the acclaimed “Boys don’t cry”, then struggled for nearly a decade to get another job, finally making the modest war drama “Stop Loss”. After that failed at the box office, she was shunted 5 years later to the immediately forgotten “Carrie” remake and she hasn’t had a job in film since 2013.
Josh Trank was by all accounts a tyrannical nightmare on the set of “Fantastic Four”. He treated his cast with contempt, he trashed his accommodations that were paid for by the studio, he was apparently so erratic and incompetent that he had to be quietly removed from the movie (which was cut to shreds in a desperate attempt to save it) and then he openly slagged off the film on release before it met with critical hatred and became a bomb. He even had to fired from a potential Star Wars job, because producers found him to be such an awful prescence. By comparison he spent a few years licking his wounds and then immediately got another gig.
Always nice to see somebody make a sad MRA callout and get slaughteredNice slaughterin’, Mr. Smith
Thank you! Those were just the few I could think of at the time. I’m certain there are countless others. I normally ignore trolls, but this one seemed worth responding to.
Okay, but name, uh … 500. Check and checkers, my friend.
Penelope Spheeris did Beverly Hillbillies, Little Rascals and Black Sheep in the four years after Wayne’s World which were all huge, major movies with big marketing push. 100% not “cast out of Hollywood”.
Penelope Spheeris feels a little differently. Why do you think she stopped getting work? She elaborated on this in an interview:
“AVC: Something that I’ve heard a lot of female directors say is that there’s no mercy. If you make a movie and it’s not a hit, that’s it.PS: There’s no forgiveness. Oliver Stone could go wreck a car and get arrested for being on drugs and then do Alexander. But we can’t do that. Women can’t make mistakes. I’m not driving home tonight because I had a couple beers, you know? [Laughs.]But yeah, you can’t screw up when you’re a woman. One little mistake, and you’re done. Like Senseless, they kept rewriting it and rewriting it. And I’m like, “Dude, you guys, this is not working. Don’t keep rewriting it. Let me just do the movie I signed up to do.” But they kept rewriting it, and it’s in my contract that I got to do what they say, you know? And at one point, I said to Bob Weinstein, “I don’t think this works,” and he goes, “This is my fucking money and I’m going to spend it any fucking way I want to.” And how are you going to argue with that?So I had to do the movie, and it didn’t do very well. And as a woman, when you do a movie that doesn’t do well, then you’re done. You’re in director jail.AVC: For forever.PS: Forever. It’s not like they go, “Okay, Penelope, you’re out of jail now. Let’s make a movie.”
From Patty Jenkins Wikipedia page:“After Monster, about serial killer Aileen Wuornos, proved a critical and commercial success, Jenkins was approached by former United States Air Force test pilot Chuck Yeager to develop a film about his life. When that project did not reach fruition, she attempted to make a Ryan Gosling movie titled I Am Superman, a film with no relation to the DC Comics character, but development ended when she became pregnant. Jenkins spent the next decade working in television.”She then got to come back and do Wonder Woman with a $150 million budget. You’re 0 for 2.
She got pregnant in 2011, so that leaves a good decade of projects not getting off the ground since Monster came out in 2001. At the end of the day, I just ask you: is this topic the hill you want to die on? This? This fantasy you have that no woman filmmaker has ever had it hard for any reason related to their gender? When there’s literally endless evidence of female directors struggling day in and day out to get movies made, to get credit and to even get a foot in the door? This is the hill you want to die on? That no woman director has ever struggled due to their gender while the Josh Tranks of the world are handed movies with budgets large enough to feed countries despite their own stupidity?
I really don’t want to further engage with anyone with viewpoints like that and if you feel like that, you have plenty of other sites to indulge in your hatred and prejudices.
Lastly, here’s Clueless director Amy Heckerling discussing director jail for women.
https://www.indiewire.com/2016/03/amy-heckerling-explains-how-director-jail-is-different-for-men-and-women-60182/“And that’s when Heckerling — beloved director of such modern classics like “Clueless” and “Fast Times at Ridgemont High” — got pretty real about how the industry reacts to female filmmakers, especially as it applies to tossing them in so-called “director jail,” something that Heckerling knows a thing or two about.“I was at a point where I had a kid, and I wasn’t doing so well because I did ‘European Vacation,’ and even though it made money, I was not getting a shitload of respect,” Heckerling remembered about her 1985 contribution to the “Vacation” comedy canon.After that film, Heckerling didn’t direct another film for four years — she was in so-called “director jail” — until she managed to get her “Look Who’s Talking” made, which she both wrote and directed. Even that took some serious finessing. “I had to go into that studio and pitch this idea I had about a woman and her baby looking for the perfect father, and the baby was talking. So I said, ‘It’s all from the boy’s point of view, the baby, and I would only need a big star for a couple of days that’s a funny guy,’” she said. “I made it very much like it was about a talking baby played by a male comic. They insist that women are not funny, so it’s almost like you gotta trick them.”So how else can you get out of director jail, besides tricking execs into thinking your movie is about dudes? According to Heckerling, by accident. “People always think like, ‘How are you going to get yourself out of it?’ There’s gotta be a game plan. You can’t just say, ‘Oh, things will change’ or suddenly they’ll like you again. There’s gotta be some compelling reason why you’re allowed back,” Heckerling continued. “Sometimes they just forget about it, like new people come in and they forget that they hated you. You know, younger people who grew up with your movies may not have worked on the one that was fucked up, and so they don’t hate you as much as the other people who are leaving do.”“I do know some men who have been in director jail, but it’s harder [for women] because [men are] allowed a couple of failures before they get sent there. It’s uneven,” she said.”
I don’t know you, but one name that comes to mind immediately is Sarah Kernochan. An interesting person to look up vis-a-vis Weinstein. There is also the related question of why so many women directors seem to only get started later in life, whereas many men directors just jump right in at a young age.
Mr Smith came with notes!
He was going to go straight after getting out of Hollywood Jail, but they pulled him back in for one last job.
And while Capone has been played in many ways, by many people over the years, the film definitely looks like it’s going for less biopic, more dreamy, violent weirdness, as it centers on the aging gangster (Hardy), who may or may not be faking dementia in order to keep federal investigators off his back.Well he had untreated syphilis, it’s safe to assume he’s not faking.
Maybe it’s like Uncle Junior in the Sopranos where he thinks he’s faking, but that’s only because he’s too addled to realize he’s actually out of it.
you fucking LOVE syphilis
We all know Geraldo didn’t find anything in Al Capone’s vault, but what this movie presupposes is…maybe he did?
But it wasn’t Geraldo’s fault!
Everything is Geraldo’s fault. Fuck that dude.
I used to think he was just a funny looking guy who was mentioned in the Simpsons once and had a cameo in the final Seinfeld episode (Geraldo isn’t known at all in Australia) Then I found that in addition to be a massive Fox news host, Geraldo is a huge Trump supporter and long time friend. So yeah, fuck Geraldo Riveria
He was also Kurt Vonnegut’s son-in-law. That’s a weird Geraldo fact.
On the one hand, Fantastic Four was garbage…on the other hand, I love a good gangster biopic flick with a hot chick…and on the other hand, why not?Holy shit, I got 3 hands.
Is this the look they were going for?
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I’d follow Tom Hardy nearly anywhere. This is not one of those places. Looks weird and forgettable, and not in a good way. I think I’ll just rewatch Peaky Blinders or something.
I just saw Locke recently and I still can’t get over that vocal transformation. Mostly because I could actually understand him! Ironically, that was probably the worst part of the movie because it seemed like he was just trying too hard to not mumble – his usual method of speaking – so he ee-nunn-cee-aaay-tedd everything. I don’t care how much he can emote; he’s ruined enough movies – one way or the other – with his speech that he shouldn’t be getting jobs.
…you think Tom Hardy, one of the best actors of his generation, should not be getting jobs because he likes to mumble…a la Marlon Brando.I guess I just want to say I disagree. Strongly.
I’d say The Revenant is among his best work, in large part thanks to his accent work. He’s almost Pitt in Snatch; bizarre but somewhat understandable.
I bet Tom Hardy’s passion project is a film about the making of One-Eyed Jacks that culminates in him as Brando being whipped by…John C Reilly? As Karl Malden for an uncut 15 minutes.