Maybe some cinephiles will see value in the ‘Godfather’ director’s long-gestating epic. Many more, though, will be left scratching their heads.
So I don’t exactly relish in reporting that Megalopolis, the for-now final result of all that thought and work, is a near unmitigated disaster. I traveled to the Cannes Film Festival with hope, wishing against wish that Coppola just might pull it off and prove all the doubters and naysayers wrong. Forget those crummy reports from industry screenings in Los Angeles last month; perhaps the real cinephiles at Cannes would understand the film, would embrace Coppola’s grand, mad vision.
The film plays as if the entire thing was rewritten after the actors had shot their parts and gone home. Nothing—no reaction shot, no transition between scenes—seems to sync, leaving the performances completely at sea. Driver, whose natural charisma complements Coppola’s faux-classical tone, manages some gravity here and there, but few others fare as well. Plaza lays it on thick in all the wrong color palette; LaBeouf hams it up, maybe just to have something to do on set.
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