It’s tough competition, but few people on Earth seem to hate Jared Leto’s face more than Jared Leto. What else can we do with the Suicide Squad the star’s continued efforts to completely blunder her features, a prosthetic facial junk food pursuit that has now spread to the newly released first look poster for Ridley Scott’s new film Gucci House? The guy looks like he’s been bitten by a radioactive Jeffrey Tambor.
Kudos to Scott’s film marketing team, at least, who understandably decided to stick Leto’s photo right in the middle of the composite shot we’ve seen of the five tracks, lest a lopsided arrangement send the whole photo in the sea. Because even if it’s not like Lady Gaga, Adam Driver, Jeremy Irons and Al Pacino, like Patrizia Reggiani, Maurizio Gucci, Rodolfo Gucci and Aldo Gucci respectively, don’t look very weird here, it’s just that none of them can match Leto’s Paolo Gucci show, who looks like a high school kid who started to put on old age makeup and somehow forgot to stop. We half expect him to mumble “I have too much shit on me” and mumble that he doesn’t want to be there anymore.
Scott’s latest tells the story of the murder of Maurizio Gucci, who was killed (spoilers) by his ex-wife Patrizia in 1995. long way to sell the sinister, weird tone that Scott is hopefully aiming for in this intramamily fashion war story. (Since the director is working from a script adapted from a book with the subtitle ” A sensational story of murder, madness, glamor and greed, ”We assume we are not ready for a ride or sober driving.) Gucci House released on November 24, 2021; Meanwhile, her inevitable trailer just immediately jumped to the top of our “I’ve got a load of it” list whenever she finally arrives.
Update, 7:54 p.m .: Well, let’s talk about the puffy-faced devil: said trailer has now arrived, slamming our senses with a bang of Blondie and lots of fancy jackets. As one might expect, Leto’s face is just as distracting in motion as it is in stills. But Gaga and Driver both look genuinely fascinating – and not some kind of “dear god, why,” suggesting that Scott’s movie might be just flashy enough to make all of those big makeup shenanigans work.