User Reviews

Wow... this is why I love going to the movies.

I just caught *Megalopolis* in IMAX, and I'm still buzzing. The film's scale and vision were so magnified that it felt like I was truly immersed in Coppola's futuristic New York. Every detail was striking, and the whole experience was incredibly powerful.

Coppola funding this $120 million project mostly out of his own pocket is a bold move that reminds me of the golden age of cinema. It's a huge contrast to today's industry, where taking risks often takes a backseat. This daring choice reflects Coppola's commitment to pushing boundaries and crafting complex, unconventional narratives.

Despite the production hurdles budget issues and creative disputes Coppola's determination has resulted in a visually stunning and thought-provoking film. Megalopolis isn't just another movie, it's a stand against the cookie-cutter approach of modern cinema, championing artistic integrity in a world increasingly driven by formulaic blockbusters.

It might not cater to mainstream tastes, but this film is a powerful testament to the value of artistic risk-taking. It's a film that deserves to be seen, discussed, and remembered, much like Coppola's other classics. In an era where creativity often takes a backseat to profit, *Megalopolis* is a refreshing reminder that the old masters like Coppola are still here, still fighting for the soul of cinema.

Coppola, at 84, brings his visionary talent to the forefront, creating a narrative that merges the past and the future in a dazzling, if sometimes chaotic, spectacle.

Megalopolis features a stellar ensemble cast, each actor bringing their A-game to the table, Adam Driver as Cesar is both captivating and intense, the visionary architect with a passion that drives the film's central conflict, Giancarlo Esposito, as the conservative mayor, delivers a performance rich in emotional depth, adding layers to the character's political machinations, Nathalie Emmanuel, through struggling with some aspects of her role, still manages to shine in key moments.

However, among this impressive cast, Shia LaBeouf's performance stands out as my personal favourite, his portrayal of Clodio, the cunning and unpredictable cousin of Catilina, is nothing short of electrifying. LaBeouf brings a raw intensity and dark humour to the role that elevates the entire film, his ability to seamlessly switch between manic energy and moments of quiet, almost unsettling calm makes his character both fascinating and terrifying to watch, and in my opinion, his performance is deserving of a Best Supporting Actor Oscar

Coppola is un afraid to take risks, blending genres, tones, and visual styles into a film that is both unique and deeply personal. It is deserving of winning in categories like Best Picture and Best Director

But be warned, this film is not for everyone. Its sprawling ambition may alienate some viewers who are not prepared for its dense, operatic style and will sure to leave you with goosebumps long after the final scene rolls in.

I was absolutely captivated by Megalopolis. Contrary to the mixed reviews it has been receiving, I found this film to be a monumental achievement, deserving of nothing less than a 10/10. The critics are wrong, this movie is an audacious blend of visionary storytelling and breathtaking visual design that left me in awe.

Coppola has faced critics head-on, much like he did with Apocalypse Now and The Godfather, films that were initially misunderstood but are now considered masterpieces. In Megalopolis, he once again proves his genius, creating a narrative that is both intellectually and visually stunning.

Adam Driver delivers a powerful performance as Cesar, the visionary architect, while Shia LaBeouf shines as his complex cousin, Clodio. Driver's portrayal is mesmerizing, capturing the essence of a man driven by an almost mythical ambition.

The film's color grading and cinematography are exceptional, blending futuristic elements with classical motifs to create a visually arresting experience. The meticulous attention to detail in the set design and visual effects underscores Coppola's dedication to his craft and his ability to create immersive worlds.

What I loved most about Megalopolis is its fearless ambition and the way it challenges viewers to think deeply about society and human nature. Coppola's masterful direction and the film's epic scope make it a must-watch for anyone who appreciates bold and thought-provoking cinema.

Score: 10/10.

Imagine if a utopian fever dream collided head-on with the existential dread of modernity, and the wreckage was sculpted into something shockingly beautiful. That's Megalopolis, a film that feels like the child of Fritz Lang and Stanley Kubrick, nurtured by the chaos of our times. It's not just a movie; it's a symphony of contradictions, where towering ambition meets intimate storytelling.

Francis Ford Coppola, somehow still operating at the peak of his powers, delivers a sprawling epic that dares to ask: What happens when the future we dream of becomes the nightmare we can't escape? The narrative dances on the razor's edge of dystopia and utopia, weaving together tales of architects, rebels, and lovers who are all striving to build something that can withstand the weight of time.

The visuals are nothing short of hypnotic-a city that never sleeps, bathed in neon and shadow, where every frame feels like it could be hung in a gallery. Coppola's use of light and architecture is masterful, creating a world that is as much a character as the humans who inhabit it. The score, an electronic odyssey, pulses through the veins of the film, pulling you deeper into its labyrinth.

The performances are just as awe-inspiring. Adam Driver delivers a performance that's both grand and deeply personal, embodying the duality of a man caught between creation and destruction. Nathalie Emmanuel is a revelation, bringing warmth and gravity to a film that could easily have been consumed by its own grandeur.

Megalopolis isn't just a film-it's an experience, one that challenges you to reconsider what cinema can be. It's Coppola's love letter to the future, wrapped in the anxieties of the present, and it's utterly unmissable. A staggering achievement that leaves you breathless, bewildered, and begging for more.

Rome wasn't built in a day as the saying goes, a truism summating that the city (or any city) wasn't built by one person's vision and even less the actual work and efforts of its construction.. It was/is an accretive process, a halting violent wrestling match of many hands (in the case of Rome mostly the hands of slaves) a creative organic growth of paroxysms of births - and deaths. Perhaps FFC at 84 yo is feeling this veil of tears descending on his utopian vineyard(s) catalyzing his desire to address this as his biggest theme yet - how history is constructed, experienced and built upon to progress. But whereas the biggest themes of war, death and rebirth found in Apocalypse Now was based on the genius mind of Joseph Conrad, FFC takes on the mantle of being a genius scriptwriter of the same promethium talents, which is debatable, even with the ability to realize 'mega' themes since the 1970's catalyzed or perhaps more aptly INSPIRED given FFC's purview, to realize the great themes for his Megalopolis germinating since the 80's, via the 'mega' developments of using artifice with CGI. I think he needed to give it more time. But at 84 he's likely feeling that may not be a luxury he has much more of, and as he's been quoted, not hard to understand his hopes and dreams for this film's message as he readies his coins for the boat man. In the end, I'm not sure he even asked the right questions. I'd re-read Thomas More's Utopia (again?) and give it more of a think without the Sword of Damocles in FFC's mind of a camera lens. Another recommendation, E. F Schumacher, Small is Beautiful.

Megalopolis is a cinematic tour de force that unflinchingly dissects the precarious state of contemporary American democracy through a chilling parallel with the fall of the Roman Empire. Directed with audacious vision, the film's chaotic narrative structure mirrors the tumultuous reality it seeks to critique, deftly illustrating how systemic instability can erode even the most resilient of republics.

The screenplay navigates a labyrinth of political intrigue, social unrest, and ideological extremism, echoing the historical disintegration that befell Rome. This intentional disorder in storytelling serves as a profound metaphor for the modern world's volatile dynamics, underscoring the fragility of democratic institutions in the face of rising neo-fascism and pervasive disinformation.

Cinematographically, "Megalopolis is a masterclass in visual storytelling. The stark, fragmented scenes reflect a society on the brink, evoking a visceral sense of urgency and despair. The performances are universally compelling, with the ensemble cast delivering nuanced portrayals that capture the multifaceted threats to democratic governance.

In an era where the specter of authoritarianism looms large, Megalopolis is not just a film but a prescient warning. It implores us to heed the lessons of history and remain vigilant, lest we witness the collapse of our own democratic ideals.

This film is an intellectual triumph, demanding reflection and action from its audience.