Megalopolis | TIFF 2024 | Review by: Gal Balaban
Megalopolis is the ambitious new epic fantasy/sci-fi drama from cinema legend Francis Ford Coppola. In the city of New Rome, Julia Cicero (Nathalie Emmanuel) is torn between the ideas and loyalties of architect Cesar Catalina (Adam Driver), who sets out to reinvent the NYC-esque city entirely into a utopia of his imagining, and her father (Giancarlo Esposito), the mayor who wants to keep things as they are.
Megalopolis sets out to be the most ambitious movie meant for a large screen in ages, with outrageous ideas coming at us straight from Coppola's mind (and pockets, too). Unfortunately, shooting for the moon doesn't land Megalopolis among the stars, more so the dirt. It's a canvas of messy ideas that come together without reward, prestige, or even sense. The dialogue is unintelligible, the story is impossible to follow, and the green screen and effects that try to imagine out-of-this-world visuals in line with Doctor Strange look rather hideous and more in line with Spy Kids or Speed Racer. The film poorly utilizes its stacked cast that includes Driver, Emmanuel, Esposito, Aubrey Plaza, Shia LaBeouf, Jon Voight, Laurence Fishburne, Dustin Hoffman, and more. They're all given surface-level characters with awful dialogue and absolutely no idea what to do with them. An early scene featuring a number of the principal cast debating on the city's feature feels more like a drunken celebrity costume party than a scripted and rehearsed scene in a film. The characters are inconsistent (and have unexplained superpowers?), and LaBeouf's antagonist is laughable and serves no threat whatsoever. Fishburne's narration is indulgent and unnecessary -- the movie begins with Coppola conveying to the audience through Fishburne that he sees parallels between our modern metropolises and Ancient Rome, and then proceeds to spoon-feed that same message to us for 138 minutes with no further nuance.
You may be glad you chose to see Megalopolis on a huge screen... for about two minutes, and then everything goes haywire. The mess of tones and logic is the least of the audience's worries here; it's a sensory disaster and a meaningless, incomprehensible drag with hollow ideas and distracting visuals. Things don't explain themselves or mean things in Megalopolis. They just happen. Yet there's no mystery underneath to unlock and no sense of intrigue, maturity, or intellect whatsoever from the man who directed The Godfather, Apocalypse Now, and The Conversation. If, like me, you don't manage to hop on board with this puzzling vision from a filmmaking master devoid of wonder or enjoyment, this is one city you'll be itching to escape from.
1/5
Review by: Gal Balaban
