REVIEW: MEGALOPOLIS

2.5/5

The Fall Of Rome York City

138 Mins. Starring: Adam Driver, Giancarlo Esposito, Nathalie Emmanuel, Aubrey Plaza, Shia LaBeouf, Jon Voight, Jason Schwartzman, Laurence Fishburne, Kathryn Hunter & Dustin Hoffman. Screenplay: Francis Ford Coppola. Director: Francis Ford Coppola. In: Theatres.

Rome wasn't built in a day, and 'Megalopolis' lasts longer than a New York minute for this eccentric epic that combines the two cities in this tale. A passion project written and directed by 'The Godfather' of cinema, Francis Ford Coppola, this really is a labour of love. The incredible 'Apocalypse Now' and the outstanding 'The Outsiders' director has won five Academy Awards, a BAFTA Award, three Golden Globe Awards. Not to mention, two Palmes d'Or, to go along with Emmy and Grammy nominations. Now, he also has a Razzie for 'Worst Director'. Although, 'Madame Web' took home the Golden Raspberry Award for 'Worst Picture'. Coppola accepted his award and had an impassioned speech about how Scorsese "cinema" is losing the fight against superhero movies and the green screen. But did he check out the Gatsby gaudy gold CGI of his mega 'Megalopolis' flop, between the metropolises of Rome and New York City?

Sadly, for 'The Conversation' of 'The Rainmaker', this movie will be put with Francis Ford's 'The Godfather Part III', instead of the stunning sequel of 'The Godfather Part II'. No 'Lost In Translation', taking Tokyo, like his daughter Sofia, this movie makes you think of another reason why Nicolas Cage changed his name for no nepotism on his way to his own fame. Even he isn't crazy enough to do this bloated blockbuster (although he did read for it) that is saddled with its own narrative weight lifted from Shakespeare (with a shaky construction working stage) and ambition that reached for the head in the clouds above the sky. It's admirable, mind you. In 'Story Of Your Life', the Ted Chiang novella that inspired Denis Villeneuve's 'Arrival', there's something said about how men build competing skyscrapers to reach high in the sky in an attempt to get closer to God. That's a beautiful notion for a movie that aims to strike chords like Jessica Chastain did in both Terrence Malik's 'The Tree Of Life' (my favourite movie, but one people also walked out off) and Christopher Nolan's otherworldly 'Interstellar' with Matthew McConaughey and Anne Hathaway.

Elsewhere in Hollywood, the Buss family just sold the Los Angeles Lakers to Dodgers owner, Mark Walter, last week. Fun fact, the purple and gold franchise of Kings and Kobe's was actually traded for New York's Chrysler building back in the day. One that game actor Adam Driver dangles precariously over for one stunning shot in IMAX that sets up this movie that sadly never lives up to that cliffhanger pretence. Adam's driving force gives it his all, but this remains with the 'Star Wars' star's recent misfires including 'The Last Duel', 'House Of Gucci', '65' and 'Ferrari'. All good movies, like the one that's in here somewhere. Let's hope a reunion with Scarlett Johansson in James Gray's 'Paper Tiger' takes him back to those 'Marriage Story', 'Paterson' and days of 'Silence'. Driver has charming chemistry with 'Game Of Thrones' and 'Fast & Furious' franchise star Nathalie Emmanuel, and one moment across the beams above the buildings is as cinematic as that famous photo of a working lunch. But it seems that even love can't save the day in this free fall.

This epic ensemble also features Giancarlo Esposito running for mayor, with a 'Breaking Bad', 'The Gentleman' and 'The Mandalorian' villain reputation that precedes him, like a banana to a fan's head. He takes 'Andor' standout Kathryn Hunter as his first lady, and the 'Harry Potter' and physical theatre star shines like she does as all three witches in Joel Cohen's 'The Tragedy Of Macbeth' with Denzel Washington. There's also great, albeit overshadowed with everything, turns from Aubrey Plaza's blonde ambition, and Laurence Fishburne's assisted narration for the title cards. Yet this movie's box office was surely further blunted by troublesome stars Shia LaBeouf and acting legend Jon Voight, looking absolutely ridiculous here. Yet, Shia is searching for redemption. A little more, could also be applied to a criminally underused Dustin Hoffman (ditto, Jason Schwartzman). Then again, this is a movie that throws as many A-listers at the towering walls as it does blueprints. It's a lot, even for the most hardened 'Brutalist' architects, to digest.

Lady Liberty looks lovely, as does some of the visions of a Tomorrowland that even Disney couldn't dream up upon their wishful stars. Yet Coppola's castle has too many arrows in it to survive a time when cinema seats tip up, as our caps don't from our streaming phones. And that's part of a bigger problem, locked in development hell. New York looks oh so great, 90s classic and Shakespearean in the streets. Almost Spike Lee like. But the meagre return on the big budget makes one of the most anticipated movies now a mere afterthought. Finally seeing the glowing light of day in the Land of the Rising Sun after being the most critical of the last calendar cycle. Francis Ford Coppola's original idea from 1977, concerning the fall of the Roman Republic and the future of the United States of America, still holds true to this day, as he retells the Catilinarian conspiracy in NYC. It's just this artist paints this picture in too hard and bold brushstrokes. After many studios wouldn't finance this film (wonder why?), Coppola built a large fortune in winemaking and funded it himself (again, ambition), but perhaps this is one message in a bottle that should have remained corked. TIM DAVID HARVEY.

Further Filming: 'The Godfather', 'Metropolis', 'The Tree Of Life'