As a seasoned gamer and cinephile with over three decades of movie-watching under my belt, I must say that Francis Ford Coppola’s latest magnum opus, Megalopolis, has left me utterly baffled and disoriented. With a career spanning iconic films like The Godfather trilogy and Apocalypse Now, I expected nothing less than cinematic brilliance from this visionary director.
Known for his innovative approach to filmmaking, Francis Ford Coppola has created iconic movies such as The Godfather, The Godfather Part II, and Apocalypse Now. While he’s also made films like Jack and Twixt that didn’t receive the same acclaim, his latest project, a $120 million sci-fi epic titled Megalopolis, has been his most ambitious yet. However, opinions on this film seem to vary greatly, making it one of the most divisive movies of the year. Unfortunately, my personal feelings towards it are not particularly positive.
This film is challenging to critique as Coppola dives deep into his vision for it. He personally finances a project he’s nurtured for years, taking bold risks that are rare in Hollywood. His unconventional approach is impressive, yet I can’t wholeheartedly praise it because Megalopolis seems to be one of the most significant misfires I’ve encountered. Each creative decision might resonate better with another viewer, but I struggled to grasp its purpose. It feels like an avant-garde student film stretched over 2 hours and 18 unyielding minutes.
I’m not going to tell you my opinion is the correct one because, as I said, everyone will walk out of this film feeling differently. If you can make heads or tails of this movie, I’m proud of you. I thought Megalopolis was nightmarishly horrendous. So many ideas don’t have a good setup or payoff. It feels like the amalgamation of 40 years of drafts all combined into one. With an absurd amount of characters (none of whom we care about), this film is cinema’s most beautiful disaster. I’m almost in awe of it. Unlike most terrible movies, I want to watch this film again because I’m in disbelief that it exists.
As a gamer, I was left scratching my head in disbelief over some of the scenes that felt more like a jumble than a coherent narrative. The storyline centers around a power struggle between two characters, Cesar Catalina and Mayor Francis Cicero, who are vying for political supremacy. Their shared goal is to build a brighter tomorrow, but their methods clash significantly, particularly when Cesar gets entangled in the life of Francis’s daughter, Julia. The concept isn’t bad, but the way it’s been carried out leaves much to be desired.
Let’s dive into the scenario. The story unfolds in an alternate contemporary “American Republic,” with New Rome serving as our substitute for present-day New York City, enhanced by CGI environments, sets, and archived city footage (given away by a long-past Sbarro in Times Square). Despite Coppola’s dedication to creating a fresh universe, I found it hard to believe. Many of the backdrops appear unrealistic, particularly when actors are positioned before LED screens. One of the most disappointing instances is a scene meant to be the film’s most romantic moment: a kiss between two lovers high above the city on construction pipes. However, the danger isn’t convincing because everything looks artificial.
The speed at which the story unfolds can be quite challenging. Instead of genuine characters, we encounter caricatures, and the narrative is prolonged with lengthy dialogues that strive excessively for profundity. It seems Coppola pays little attention to subtly as numerous scenes show characters explicitly stating the film’s themes rather than allowing them to be inferred. This method of exploring themes leaves one wondering – what is the intention? Is this confusion deliberate or unintentional? Moreover, a character portrayed by Laurence Fishburne provides narration throughout the movie. While his narration initially seems engaging, there are instances where it’s employed to express ideas that could have been conveyed visually, making one question why these choices were made.
The cinematography works in some scenes and not so much in others. Coppola employs a superb use of bold, vibrant colors, and there is no shortage of excellent shots, particularly during a few outdoor nighttime scenes. But there is an overuse of a shallow depth of field (this comes from someone who loves shallow depth of field). Every scene is blocked and performed like a bad stage play. Megalopolis feels like the workings of a madman, free to create without restraints, letting his actors have free roam and making an absurdly high-budget independent film.
Regardless of its impressive lineup of actors, this movie seems to struggle with its complex narrative. The emotional scenes feel artificial, and the dialogue sometimes comes off as stiff or hard to follow. Adam Driver provides some amusing performances, Aubrey Plaza’s character is bizarre, and I’m left wondering about Shia LaBeouf and Jon Voight’s roles in this film. Honestly, I can’t fathom what these two Transformers actors were attempting with their portrayals. This film is a peculiar masterpiece that defies explanation; you simply have to see it to believe it. While I usually advise against watching movies I dislike, I urge you to give this one a try because it’s unlike anything I’ve ever seen before.
The romantic connection between Driver and Nathalie Emmanuel seems lacking, some dialogue is so awkward it’s funny, and the plot lacks direction and intrigue. A scene involving a character’s death could have been moving, but instead, it’s one of the funniest moments I’ve seen this year. The split screens distort images in an unattractive way. Political commentary is blatantly obvious, to the point where characters wave slogans like “Make Rome Great Again.” This film is a showcase of cinematic mediocrity, a disappointing waste of 2 and a half hours, or any amount of time spent watching it. It’s self-indulgent and leaves you puzzled.
SCORE: 1/10
As ComingSoon’s review policy explains, a score of 1 equates to “Awful.”
Instead of doling out a poor rating lightly, ComingSoon usually reserves it for video games that are malfunctioning or for forms of entertainment that lack any notable positive aspects.
Dislcosure: ComingSoon attended a press screening for our Megalopolis review.
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2024-10-01 00:40