Megalopolis review: Coppola’s self-indulgent comeback may be a MEGAFLOPOLIS

Megalopolis (15, 138 mins)

As a film critic with years of experience under my belt, I must say that this week’s cinematic offerings present a fascinating mix of emotional depth and comedic flair.

Verdict: Thumbs down

Upon viewing Megalopolis at this year’s Cannes Film Festival, I felt inclined to give it only one star. In retrospect, that rating seems rather severe. The film does possess certain merits, suggesting that it might be more fittingly rated with two stars instead.

But it is a crashing disappointment all the same, a desperately bloated and self-indulgent exercise on the part of 85-year-old director Francis Ford Coppola. And I write as one of his biggest fans. The Godfather is my favourite film of all time. His 1970s output alone, which also included The Godfather: Part II, The Conversation and Apocalypse Now, elevates him to the very top tier of filmmakers. He stands with the greatest of the greats.

However, such great talent often brings a large ego, and an assumption that Francis Ford Coppola’s Megalopolis: A Fable (as pompously titled) will leave us awestruck by his brilliance again. Instead, let’s lament at his overconfidence.

Megalopolis, a long-planned and personally-funded project by Coppola through part-sale of his thriving winery business, unfortunately turns out to be “corked,” much like a flawed bottle of wine, in terms of its delivery as a futuristic city tale filled with corrupt politicians.

Indeed, it’s not a stretch to suggest that his argument could serve as a strong foundation for the idea that America, and specifically New York City, might resemble ancient Rome in its decline and deterioration in the immediate future. He refers to this urban center as “New Rome,” a city corroded by greed, where individuals are solely focused on amassing wealth.

As an ardent admirer, let me express that Adam Driver breathes life into the captivating character of Cesar Catilina, a city’s influential puppeteer, who is none other than the nephew of the towering tycoon Hamilton Crassus III (portrayed by Jon Voight). This architectural genius and Nobel laureate is also a subject of whispers, suspected to be a wife-slayer. Intriguingly, our first encounter with Cesar finds him on the precipice outside his office atop the grandiose Chrysler Building, seemingly on the verge of ending it all. Yet, he possesses an enigmatic power to halt time, allowing him to retreat from danger’s edge.

Invented by him is a mystical, golden construction material named ‘Megalon’, which he plans to use to construct a radiant, futuristic city paradise. However, there’s a powerful adversary standing in his way – Mayor Cicero (Giancarlo Esposito), who feigns concern for the residents whose communities will be demolished to build Cesar’s Megalopolis.

If you find this information perplexing, that’s because it can be. However, Coppola is just beginning to delve into his interpretation of ancient Rome, using the analogy extensively – a tactic that could potentially lose some of its former impact if this movie receives unfavorable feedback from cinema audiences.

Cesar’s wild popularity takes a dive when a tape emerges of him having sex with a Vestal Virgin, which is a proper no-no in New Rome, but his lover Julia (Nathalie Emmanuel), who is the daughter of Mayor Cicero, stands by him. Meanwhile his ex-lover (Aubrey Plaza), a television presenter who glories in the peculiar name Wow Platinum, has gone and married Cesar’s rich banker uncle and is busily scheming with the old man’s amoral grandson Clodio Pulcher (Shia LaBeouf) to steal his fortune.

Now, the storyline isn’t just puzzling; it’s intricate, like a complex maze. Yet, Coppola continues, employing imagery that seems obscure to most except perhaps himself, and occasionally revealing his grandiose self-image (or possibly, showing off his bold humor) by having Julia and Cesar ponder names for their yet-to-be-born child: Sunny Hope for a girl… Francis for a boy.

It would be great if there were more humor scattered throughout the movie. There are moments of true cinematic genius, no doubt, and the story concept is intriguing. Granted, New York has been portrayed as a corrupt city countless times before, but let’s remember that’s how Gotham City was born too.

Regarding this movie, there’s a strong possibility it will become a massive hit. If that happens, director Coppola might exclaim, “Infamy, infamy, they’ve all got it in for me!” as he reflects on the fact that Carry On Cleo (1964) offers a more delightful portrayal of Roman extravagance.

The Outrun (15, 118 mins)

Verdict: Lacerating and brilliant

The classiest film of the week is one which has a fraction of the Megalopolis budget.

This captivating research explores the depths of addiction, featuring a remarkable lead role by Saoirse Ronan that ranks among the best performances you’ll witness in 2021.

The Outrun

Rona is much closer to her bipolar father (Stephen Dillane).

It’s lacerating stuff, but the healing power of nature offers glimmers of hope in a story that I found mesmerising from start to finish.

Wolfs (15, 107 mins) 

Verdict: Clooney and Pitt fail to spark in a strained one-joke comedy 

The film “Wolfs” can be described as a weak and unoriginal blend of comedy and suspense, with an emphasis on the idea that George Clooney and Brad Pitt share some extraordinary chemistry.

It appears that, as far as my viewpoint goes, they aren’t directly involved in the proceedings. Instead, they portray enigmatic intermediaries who reluctantly unite to aid a district attorney (Amy Ryan) in disposing of a male escort (Austin Abrams), who seems to have met an untimely end.

The movie’s forced humor relies heavily on one gag: the fact that these two individuals, who believed they were carrying out secret cleanup tasks that no one else was capable of, are enraged when they discover someone else is doing the same job.

In an attempt to add more substance to the storyline, filmmaker Jon Watts integrates elements such as heroin trafficking and a rowdy group of ruthless Albanian gangsters. However, these characters are over-the-top and stereotypical, making them seem like exaggerated caricatures. The background music, with its jazzy tones, continuously hints at a lighthearted caper film. Regrettably, the narrative fails to capture the essence of Wolfs’ story.

My Old Ass (15, 98 mins) 

In a fresh and engaging manner, Megan Park’s directorial debut titled “My Old Self” offers a captivating journey of self-discovery for the 18-year-old protagonist Elliott, played by Maisy Stella in her feature film debut. This coming-of-age story is intriguing as Elliott navigates an eventful Canadian summer under the guidance of her 39-year-old future self portrayed by Aubrey Plaza. The narrative is both heartfelt and humorous, making it a must-watch.

Read More

• TOMI PREDICTION. TOMI cryptocurrency
• Silver Rate Forecast
• SOL PREDICTION. SOL cryptocurrency
• HOT PREDICTION. HOT cryptocurrency
• CORE PREDICTION. CORE cryptocurrency
• COTI PREDICTION. COTI cryptocurrency
• QI PREDICTION. QI cryptocurrency
• VELA PREDICTION. VELA cryptocurrency
• BOB PREDICTION. BOB cryptocurrency
• HST PREDICTION. HST cryptocurrency

2024-09-27 00:52