San Francisco Chronicle by Mick LaSalle

Scott is having a remarkable year. To be exact, he’s having a remarkable season. Less than two months ago, “Last Duel” was released and it was Scott’s best film in years. Now the even-better House of Gucci is his best film in years — and it’s different from his previous work.

IndieWire by David Ehrlich

Locked in a heated conversation with its own campiness from the moment it starts, 'House of Gucci' leverages that underlying conflict into an operatic portrait of the tension between wealth and value.

Variety by Owen Gleiberman

House of Gucci is an icepick docudrama that has a great deal of fun with its grand roster of ambitious scoundrels, but it’s never less than a straight-faced and nimbly accomplished movie.

Screen Daily by Fionnuala Halligan

House Of Gucci can switch into camp faster than you can swing a bamboo-handled handbag, and will certainly launch a thousand Gaga memes, an element which is accentuated by the random application of chart bangers in the soundtrack. But it’s also unsettling, entertaining, and really quite unusual: like next year’s fashions from a more extreme house, it grows on you.

The Guardian by Peter Bradshaw

In the end, this is Lady Gaga’s film: her watchability suffuses the picture, an arrabbiata sauce of wit, scorn and style.

Time by Stephanie Zacharek

No matter how she got there, Gaga’s performance in House of Gucci is both tremendous fun and ultimately touching, likely despite any technique rather than because of it.

The Independent by Clarisse Loughrey

Gaga plays the film’s early scenes with a winking, playful innocence, consciously mirroring Patrizia’s story with that of Ally, her character in 2018’s A Star is Born – another ordinary woman plucked from relative obscurity.

NME by Nick Levine

Directed without restraint by Ridley Scott, it’s a bewildering blend of high fashion, high camp and high tragedy that’s chaotic but also wildly entertaining.

Consequence by Clint Worthington

By all means, watch it for Gaga doing The Most, or Leto pulling out the most eye-poppingly bad performance of the year with every falsetto lilt of his voice. But be ready for Gucci to try in vain to steady the ship and Get Serious about the all-consuming power of greed, and to yawn when those moments seem to linger too long. Believe me, I wish House of Gucci had a greater share of Lady Gaga death stares and pointed sips of espresso.

Entertainment Weekly by Leah Greenblatt

Gucci might have been a better movie if it had fully committed to the high camp its Blondie-soundtracked trailer promises. It's more serious than that, at least intermittently; a strange melange of too much and not enough. The script also skimps, weirdly, on the actual murder, which is treated mostly as a framing device and felonious afterthought until the final moments. But even a House divided is still more fun than it probably should be: a big messy chef's kiss to money and fashion and above all, movie stars — criming and scheming like they have nothing left to lose, until it's true.

Movie Nation by Roger Moore

Scott looked at all the sordid, unscrupulous and deadly goings-on that ended the Gucci family's days of running the ‘House of Gucci’ and saw a cartoon. Watching his take on a fashion empire's downfall...you can sometimes see his point.

IGN by Tara Bennett

House of Gucci starts with such promise as Adam Driver, Lady Gaga, and Al Pacino give performances that bring out the emotional complexity of the historically dysfunctional Gucci family. But then Ridley Scott becomes infatuated with tracking the fall of the corporation and its familial machinations instead of zeroing in on the more compelling personal implosion of Patrizia and Maurizio. Too much of the narrative is given over to side characters and scenes that are overindulgent, which lessens the potency of the tragic story and our investment in where they all end up.

The Telegraph by Robbie Collin

Ridley Scott's crime drama feels like a soap opera with airs, but its star's sheer chutzpah ensures it's never less than watchably raucous.

The Film Stage by Matt Cipolla

Despite the reasons House of Gucci doesn’t work, none are damning enough to make a bad movie. It’s forgettable, sometimes playing like the sort of cable-TV fare that displaced these tales from the silver screen over the past decade. Yet Scott’s efforts, and especially those of Johnson and Bentivegna, just don’t keep up. And what’s the point of going big if you’re not going to go for it all?

Slant Magazine by Derek Smith

Ridley Scott’s tale of greed and revenge practically begs for melodramatic excess.

Screen Rant by Mae Abdulbaki

House of Gucci boasts strong performances and is hammy enough to be occasionally enjoyable, but falls flat in the overall effectiveness of its story.

LarsenOnFilm by Josh Larsen

Director Ridley Scott and cinematographer Dariusz Wolski lacquer things with the right sheen—and the outfits and hairstyles, if nothing else, will keep you awake for the nearly three-hour running time—but House of Gucci’s promise as a campy, fact-based crime melodrama is only realized when Germanotta is running the show.