Francis Coppola’s self-funded, self-styled new Roman epic — set in a futuristic city that looks a lot like New York — has garnered reviews from right across the spectrum, from pans to raves. And it deserves them all. It’s a crazily ambitious folly, a wildly audacious swing, a movie unlike anything else you might have seen before, and one that maybe only works in fits and starts. It’s inspiring and infuriating, funny, earnest, avant-garde and almost naive. In most other art forms, there is a place for reinvention and experimentation. In American movies, these things tend to meet with suspicion and derision. Megalopolis is a movie about the present moment — about a decadent Establishment on the verge of eating itself — that dares to imagine a brighter future. It’s a film full of ideas, and sentiment, satire and play. Go with it, see where it takes you.
A brash, often beautiful, sometimes clotted, nakedly personal testament. It’s a little nuts, but our movies could use more craziness, more passion, feeling and nerve.
Manohla Dargis, New York Times
Megalopolis might be Coppola’s decades-in-the-making passion project, an epic of ambition and imagination, but it is also a magnificent mess of a masterpiece, as irredeemably silly as it is sincerely sublime.
Barry Hertz, Globe and Mail
Megalopolis might be the craziest thing I’ve ever seen. And I’d be lying if I said I didn’t enjoy every single batshit second of it.
Bilge Eberi, New York Magazine
Francis Ford Coppola
Adam Driver, Giancarlo Esposito, Nathalie Emmanuel, Aubrey Plaza, Jon Voight, Shia La Beouf, Laurence Fishburne
USA
2024
English
Indigenous & Community Access
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