Directed by Kevin Connolly
Starring – John Travolta, Kelly Preston, Stacy Keach
The Plot – The film follows infamous crime boss John Gotti’s (Travolta) rise to become the “Teflon Don” of the Gambino Crime Family in New York City. Spanning three decades and recounted by his son John Jr. (Spencer Rocco Lofranco), GOTTI examines Gotti’s tumultuous life as he and his wife (Preston) attempt to hold the family together amongst tragedy and multiple prison sentences.
Rated R for strong violence and pervasive adult language
– While the performances certainly aren’t anything of award worthy, Travolta and Preston are giving it their all in their respective roles. My only complaint from Travolta is that his performance feels like more of an impression of John Gotti, and less of an immersion. What pushes it through to positivity for me are some of the committed deliveries that he gives to some truly outlandish dialogue that did him zero favors.
– The inclusion of real life footage does a much better job in relaying information than the film does. I would normally complain for how much this film goes to the well for the added effect, but it was the only reason why I was able to follow what was transpiring from scene-to-scene.
– This film has attention deficit disorder of the worst kind. If you can get by the first five minutes of the movie, in which there are three different timeline switches, then you will have difficulty deciphering why this film can’t tell one cohesive direction from oldest to most recent in storytelling. This never settles down, and the whole film feels like a disjointed Frankenstein project that should’ve never seen the light of day.
– It’s not often that I complain about the dialogue feeling like it got its respective film genre wrong, but that’s what we have here. Most of the lines and conversation pieces feel like they’re ripped completely out of a satirical comedy that pokes fun at the gangster lifestyle, instead of hard-hitting, moving reads that make you feel their impact. Never for a moment was I shook or even remotely moved in the way that films like Goodfellas or The Godfather films achieve.
– Where the film begins is a bit of a mystery to me, because it makes Gotti feel like a sequel to a film we’ve previously seen. There is not a single mention of John’s earlier life, or anything before this twelve year period that the film rushes through, making the presentation feel like a two-and-a-half-hour movie that was horrifically trimmed to 100 minutes. Maybe we should be so lucky.
– My job as a critic is to point out aspects in time period pieces that don’t line up to the respective decade that a particular film is trying to depict, and Gotti has two of my absolute favorites of all time. Consider first of all that this film takes place between 1977-1989, then ask yourself why acclaimed rapper Pitbull has two songs that play overwhelmingly loud during an outdoor barbeque thrown by Gotti’s mob family. If this isn’t enough, ask yourself why during a New York skyline shot, the 9/11 tribute can easily be seen. WHAT WERE THEY THINKING?? Were they even remotely trying?
– There’s are these huge leaps in time that only further contribute to the idea that this film was gashed in half. Events and things just tend to happen without much planning or warning, and we as an audience are left to pick up the pieces and figure out what happened along the way. I don’t care much for audible narration, but this is a film that needed it terribly, because surviving without it is like trying to learn a foreign language on one hour of experience.
– Much of the film’s production falters, feeling like a cheap made-for-TV experiment that they couldn’t sell to F/X. One such example is in a scene in which a rival mob boss walks up the street with his henchmen and turns down the corner. The problem comes in the fact that this exact same take is played three different times throughout the film. How do I know this? The boss’s limping pattern and clothes are the same in every take. After the second time, I didn’t even laugh anymore. I became concerned for how anyone could ever give Connolly a job in the director’s chair.
– Offensive character framing. If I was a citizen of New York or an Italian, I would be more offended watching this than watching an episode of Jersey Shore. I’m not sure if Connolly’s point was to depict Italians as braindead human beings, but bravo to a job well done. The movie has this strange angle of portraying Gotti as this hero of the community, and that he didn’t deserve what he got in the end. This gives me hope for that Dahmer film in which they depict him as a vegetarian.
– Much of the push-the-envelope material feels like watered down scenes from other, better gangster movies. In fact, as I sit here not even an hour after the movie ended, I remembered very few details to Gotti’s life that even made him such a valued angle for American cinema. There is definitely a compelling story somewhere underneath Connolly’s disheveled pieces, but they never combine with one another to craft anything of dramatic pull or tension for the movie. Even the death scenes feel like temporary hiccups instead of deconstruction to the title character.