by Kevin Muller

The dictionary defines “ambition” as a strong desire to achieve something that typically demands determination and hard work. This is perhaps the most fitting compliment for Francis Ford Coppola’s new film, Megalopolis. After four decades of development, Coppola self-financed this passion project by selling part of his renowned vineyard, as no major studio was willing to take it on. But was the long wait worth it?

Set in New Rome—essentially a version of New York City—the story follows architect Cesar Catilina, who envisions a better future for the city’s residents. His secret weapon is a substance called “Megalon,” which he plans to use to build the city of tomorrow. However, local politicians, particularly the mayor Frank Cicero, want him out of the picture. With the help of Cicero’s unpredictable nephew Clodio, they scheme to eliminate Cesar. Complicating matters, Cicero’s daughter Julia develops a romance with their adversary, while a famous reporter, Wow Platinum, who has history with Cesar, watches with growing jealousy.

There’s a lot to unpack in this film. At over eighty, Coppola seems acutely aware of time’s passage, packing the film with ideas—some resonate, while others falter or crash. The opening act introduces us to the characters, setting, and conflict with a promising start. The dialogue, written in a Shakespearean style, gives the film a unique identity. Adam Driver, as Cesar, delivers the lines beautifully, breathing life into even the most absurd moments, likely drawing on his Shakespearean training.

However, the screenplay suffers from a lack of coherence. Beyond the dialogue, the narrative feels disjointed and lacking flow, with Coppola’s ambition and excess splattered across the screen.

The political plot becomes increasingly muddled as it unfolds. The sheer volume of ideas and character arcs is overwhelming. The film boasts a large ensemble cast, but while some are glorified cameos, others wish they could be. Aubrey Plaza, as Wow Platinum, is a standout, delivering her lines with an exaggerated seriousness that borders on the absurd. Shia LaBeouf’s Clodio is amusing but similarly chaotic. The love story between Cesar and Julia, played by Nathalie Emmanuel, is well-intentioned but lacks depth; her performance swings between wooden and engaging. Giancarlo Esposito brings a steady presence as Cesar’s foil, while Jon Voight’s character is poorly written and adds awkward energy, especially during the climax.

With such a promising cast and premise, it feels as if the direction has veered off course. The multitude of ideas presented lack the necessary depth, making for a passive viewing experience—something no director hopes for in a film that carries personal significance. By the end, it becomes a chore to sit through, with little structure to hold it all together.

Megalopolis stands as an intriguing failure. The concept shows promise, but calling Coppola’s execution a miss would be an understatement. The film struggles to connect with its audience, raising the question: what happens when a passion project becomes a daunting endeavor? While it won’t haunt your dreams, it will certainly test your patience.

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I am giving Megalopolis a 1.5 out of 5 Hairpieces!