At the lofty age of 85 and decades removed from his genre-defining classics “The Godfather” and “Apocalypse Now,” Hollywood royalty Francis Ford Coppola has finally released his dream project. An undertaking spanning nearly half a century of rewrites and innumerable delays, “Megalopolis” defies all parameters of cinematic convention. Unfortunately, in his boundary-pushing attempt to bookend a legendary career, Coppola’s vision falls hilariously flat. “Megalopolis” is a pompous, befuddling disaster.
The synopsis –– which sells the film far more successfully than the actual product –– describes genius artist Cesar Catilina (Adam Driver) and his quest to transform the fictional city of New Rome into a flourishing utopia. Meanwhile, Mayor Franklin Cicero (Giancarlo Esposito) stands staunchly in his way, perpetuating special interests and partisan warfare. Dueling egos and outlandish personalities litter a city-wide divide, including the mayor’s daughter (Nathalie Emmanuel), whose love for Cesar has divided her loyalties. Unsurprisingly, this ridiculous epic is somehow far more ridiculous than advertised.
Coppola’s intended examination of greed and regressive societal ideals is brazenly lost and overwhelmed by perplexing choices. An uncomfortable clash of sci-fi and history generates a strange, uncanny brand of dialogue. The first five minutes alone made my concept of film feel unfamiliar. Though unlike anything I’ve ever witnessed, as Coppola indeed intended, “Megalopolis” fails to execute the bulk of its skyscraping swings. I was stunned, speechless and thoroughly entertained, but for all the wrong reasons.
Despite a cast list covered head to toe with big names, including supporting turns from Shia LaBeouf, Aubrey Plaza, Jason Schwartzman, Jon Voight and Laurence Fishburne, none are convincing. With the dreadful script and line direction working against us all, I can’t necessarily slight them. Driver works the best here. Maybe he’s the most committed, or perhaps he had a better understanding of Coppola’s pointers. At the end of the day, I think his ability to sell the awkward comedic tone is what ultimately propels his performance.
On that note, although “Megalopolis” isn’t a comedy, it is occasionally funny — even intentionally. It’s clear Coppola and the cast have a grasp on the film’s inherent silliness. The quiet, uncomfortable snickering echoing up and down the theater does produce a sense of audience camaraderie, with everyone simultaneously questioning whether Coppola is pulling some kind of cinematic prank.
From a technical standpoint, “Megalopolis” remains a mixed bag, though a slightly more positive one. A handful of grandiose visual ideas try to justify the budget. To my disappointment, most of them are present in the trailer. Other sections are glaringly ugly, sporting a golden color grade and sloppy effects. A pretty film exists within the muck, but not enough for any awards consideration. For a complete product, “Megalopolis” feels unfinished — an embarrassment compared to Coppola’s previous work.
The ending — if you can make it there — feels arbitrary and rushed. It’s insane to suggest that such a trainwreck should be longer, but an extended runtime could’ve helped flesh out its many ideas.
Some suggest “Megalopolis” is glorious, and I wouldn’t discount that word to describe my theater experience. For better, but mostly worse, this film exists in its own sphere. I don’t expect anything similar to ever be greenlit again, and Coppola is undoubtedly headed for retirement. It is a trip and a half that can only be seen to be believed.
For all its self-indulgent quirks and ambitions, “Megalopolis” deserves to be watched. If not for the point of consuming a quality movie, then for the pleasure of witnessing something so amusingly catastrophic.
Popcorn Rating: 1.5/5 bags of popcorn
