Megalopolis
September 24th, 2024
MOVIE: MEGALOPOLIS
STARRING: ADAM DRIVER, NATHALIE EMMANUEL, GIANCARLO ESPOSITO, AUBREY PLAZA, LAURENCE FISHBURNE
DIRECTED BY: FRANCIS FORD COPPOLA
AMovieGuy.com’s RATING: 3 STARS (Out of 4)
RATED: R
RUN TIME: 138 MINUTES
It’s not The Godfather or Apocalypse Now that comes to mind when watching Francis Ford Coppola’s Megalopolis. Instead, I’m reminded of Tucker: The Man and His Dream. In Tucker, Jeff Bridges portrays a constantly dreaming car designer, whose passion overshadows everything else. In Megalopolis, Coppola embodies that same spirit. This film is his passion project, financed by selling off his successful wine company. Was it worth it? I say yes—not because the film is flawless, but because it represents an artist’s relentless pursuit of creation. If you love it, I understand; if you hate it, I also understand. Ultimately, it’s a testament to Coppola’s vision. Megalopolis is an audacious dream project that explores the fall of the Roman Empire, the rise of a new utopia, and the madmen striving to create it. A fitting title might have been Megalopolis: A Man and His Dream.
Set in New Rome, Adam Driver stars as Cesar Catilina, a brilliant architect and inventor. He has created a revolutionary material called Megalon—a glowing, gold substance that can mold and shape anything without harming the environment. His ambition to build a new utopia leads to conflict with Mayor Cicero (Giancarlo Esposito), who opposes tearing down the old city for this paradise. Cesar seeks support from his uncle, Hamilton Crassus III (Jon Voight) while garnering attention from reporter Wow Platinum (Aubrey Plaza). He finds himself drawn to his enemy’s daughter, Julia Cicero (Nathalie Emmanuel). In classic Shakespearian fashion, a rift forms between those in power and the future they envision. As Coppola suggests, great art can never die, and that’s the story he’s telling with his mind wide open.
Visually, Megalopolis is a blend of the best and worst of CGI. Some scenes, like Cesar tightrope-walking atop his building, are strikingly imaginative, while others—such as a circus-themed party featuring Roman wrestling—feel like poorly rendered holograms. It’s clear that Hollywood often prioritizes technology over the intimacy of practical effects, and had Megalopolis been made when it was first conceived decades ago, it might have been easier to digest and visually more impactful.
The performances are another conversation altogether. Plaza fully embraces her role, delivering a dynamic performance, while Driver provides the film’s nuance and introspection—his portrayal reminiscent of Leos Carax’s Annette and House of Gucci combined. Unfortunately, some actors seem either overly theatrical, like Shia LaBeouf, or out of sync with the film’s energy, leaving a question of whether it’s Coppola’s vision that remains unmatched.
Ultimately, everything rests on Coppola’s shoulders, as he passionately brings his vision to life. He’s assembled a diverse cast that includes both controversial figures and those with pristine reputations. In many ways, Megalopolis is a distinctly American film, reflecting the complexities of our world since 2016. It succeeds as a cohesive piece of art rather than merely a movie. Coppola is a dreamer, and he wasn’t going to fade away without realizing his ambitious dreams—no matter how wild they may be. It’s fascinating to witness a filmmaker of his age still pushing the boundaries of cinema and crafting a film that has sparked conversation. That’s what a genius does.
3 STARS
MEGALOPOLIS IS PLAYING IN THEATERS THIS FRIDAY SEPTEMBER 27TH, 2024.
Written by: Leo Brady
