Director: Francis Ford Coppola
Writers: Francis Ford Coppola
Cast: Adam Driver, Forest Whitaker, Nathalie Emmanuel, Jon Voight, Laurence Fishburne, Aubrey Plaza, Shia LaBeouf, Jason Schwartzman, Grace VanderWaal, Kathryn Hunter, Talia Shire, Dustin Hoffman, D. B. Sweeney, Giancarlo Esposito
The Good
- Visually Striking: The film boasts impressive visuals, particularly in its opening scene where Cesar seemingly controls time.
- Thought-Provoking Themes: Megalopolis tackles relevant themes of societal decline, power struggles, and the human spirit’s resilience.
- Intriguing Inspiration: The film draws inspiration from ancient Rome, adding a layer of historical allegory.
The Bad
- Uneven Pacing and Narrative: While the story has a clear core, some scenes feel disjointed, and character development is lacking.
- Questionable Special Effects: The visual effects range from awe-inspiring to underwhelming at times.
- Heavy-Handed Dialogue: The film’s exposition can feel clunky and overbearing.
The Verdict
Megalopolis is a fascinating experiment that doesn’t quite reach its full potential. Despite its flaws, the film’s ambition and Coppola’s passion shine through. Fans of visually stunning sci-fi and films exploring grand societal themes might find something to appreciate here. However, those seeking a tightly woven narrative and nuanced characters may be disappointed.
Megalopolis Review
Francis Ford Coppola’s new film, Megalopolis, takes place in a future New York City that’s being rebuilt after a terrible disaster. The story follows an architect who has a grand idea to turn the city into a perfect place to live. But his plan faces challenges from both politics and his own personal life.
The movie has a big cast of famous actors and explores themes of people’s dreams, how powerful people behave, and the strength of the human spirit in a futuristic city.
For over four decades, renowned filmmaker Francis Ford Coppola has been striving to bring his ambitious project to life. After numerous setbacks, Megalopolis finally debuted at the Cannes Film Festival in 2024.
The movie is a surreal exploration of waning faith in humanity and the obsession with constructing a perfect future. It poses the question: When authorities obstruct our efforts, how can we achieve our goal of leaving a lasting legacy and improving the world for those who come after us?
This movie feels like a labor of love that lost its spark. It’s long, dull, and surprisingly empty, filled with obvious speeches about what the future holds for humanity.
It’s both over-the-top and lifeless, with some truly bad acting and cheap-looking special effects that don’t feel real or even interestingly futuristic. But for all its flaws, this sci-fi mystery with political thriller elements does raise an interesting question: can any empire, including the US, last forever? Is America facing its own fall from grace?
“Megalopolis” centers on its protagonist, Cesar Catalina, played by Adam Driver. He is a nervous and intense mix of tech visionary and urban planner, reminiscent of Steve Jobs and Robert Moses.
At one point, he nearly jumps off the Chrysler Building but saves himself by freezing time with a snap of his fingers. Cesar dreams of building a utopian “city-school” on the ruins of New Rome, but he doubts his ability to realize this dream. The character’s development is minimal, with little insight into his motivations or emotions.
Cesar Catalina is an architect determined to transform a crumbling city into a sustainable utopia. Using his ability to control time, he envisions an ideal future. However, corrupt Mayor Franklyn Cicero, portrayed by Giancarlo Esposito, wants to keep things as they are.
Cesar’s cousin, Clodio Pulcher (Shia LaBeouf), driven by ambition and the influence of his father, Hamilton Crassus III (Jon Voight), also poses a threat to Cesar’s plans. With the support of the mayor’s daughter, Julia (Nathalie Emmanuel), Cesar finds hope for achieving his vision.
Coppola quickly showcases Catalina’s ability to control time with vivid and intense imagery. As Adam Driver’s Cesar leans over a skyscraper, he stops time with a command and resumes it with a snap of his fingers. This scene, accompanied by a ticking clock and a powerful bass sound, draws us in with its excitement, making us eager to uncover its deeper meaning.
The story is driven by Coppola’s passion, seamlessly flowing from one scene to the next, much like waves crashing against rocks. The anticipation of what comes next keeps us engaged, with moments of unexpected brilliance appearing even in the most mundane scenes.
“Megalopolis” is a mix of breathtaking visuals and jarring sights, creating a chaotic yet intriguing landscape. The juxtaposition of old and new elements—like an art deco skyscraper next to a cathedral and a Starbucks—gives the film its unique character.
Despite the chaos, the film’s simplicity is its strength. It tells a straightforward story about the complexities of humanity, focusing on one man’s dream to change the world while others aim to destroy it. Coppola introduces corrupt political figures determined to block progress and wealthy individuals who use their resources to maintain their power and influence.
The film is rich with references to ancient Rome and the fall of its empire. These allegories reveal deeper insights into human nature, particularly our desire for power, wealth, and control. Many characters lose faith in each other, the American dream, and humanity. Despite having time, things seem to be deteriorating—a reminder of how fleeting time can be and how we are taught to cherish it as it passes.
In some scenes, the movie seems to be copying classic films like Fritz Lang’s Metropolis. The speeches about what humans can achieve feel outdated, like something written during the New Deal or even earlier. The attempt to portray a decadent, party-loving society on the brink of collapse, like the fall of Rome, just feels unoriginal.