I hope an updated trailer includes quotes from reviews of The Godfather Part III, One from the Heart, and Jack.
Sad thing, what happened (underpaid interns using chatGPT, no doubt) because otherwise the trailer looks stunning to me. The visual homages to Melies and Demy are great, the use of color captivating, and the frame compositions outstanding!.
The master is back!. Can´t wait to September 27th.
PD: Wouldn´t be easier to replace the AI generated quotes with true quotes from bad reviews of the same films (yes, they do exist).?.
In fact, why are they taking so long to upload a "fixed" version of the trailer?.
OK, just came back from this. Some spoiler free remarks:
I'm afraid the first impression is that of disappointment (two out of five stars on MUBI), but with an open door for improvement after subsequent viewings. It has that potential.
First of all, it's an absolutely bonkers acid trip of a film, which in itself is positive. Some sequences (like a lengthy wedding sequence) is extremely virtousic, like a kaleidoscopic music video. Coppola taking it all out.
But it's also a film that can't BREATHE. It's soooo dense -- extremely dialogue-heavy (with complex dialogue), which is never a good thing for me. Also complex narrative, fast editing (for Coppola) and a surprisingly high amount of close-ups. The result is that the stunning tableaux that it does contain rarely get a moment to shine.
On top of all this is the meta-contextuality, as it comments not only on the rise and falls of empires throughout history, but tries to mirror contemporary political issues as well.
It's very hard to make heads and tails of it all, and the character development (and our understanding of it) is another aspect that gets sacrificed on the altar of "faux mythology", despite good performances by the cast.
This disparate nature of the film - this extremely complexity - is also what creates potential for growth after rewatching. I'm fairly confident this will grow on me when I get the chance to see it again (and when I'm in the mood for it).
The score was great -- heterogenous like the film, but with some impressive orchestral colours. Very much looking forward to hearing it on album.
1. New Rome (6:02) 2. The Map of Utopia (5:29) 3. The Catilinarian Conspiracies (3:05) 4. Suor Angelica: Senza mamma, o bimbo, tu sei morto – Renata Scotto (1:14) 5. Noir Love (4:34) 6. Kiss in the Heights (2:02) 7. Saturnalia: The Unveiling of Megalopolis (4:47) 8. Sunny Descends (1:26) 9. My Pledge – Vesta Sweetwater (3:53) 10. Rope (2:24) 11. Entrance of the Gladiators – Julius Fucík (0:53) 12. Breathing Statues – Jeremy Flower (3:11) 13. Sunny’s Room (2:33) 14. Time Shall Have No Dominion – Osvaldo Golijov & Jeremy Flower (2:39) 15. Cesar Descends – Cyro Baptista, Jeremy Flower, Osvaldo Golijov, Jamey Haddad, Jeremy Udden & Michael Ward-Bergeman (6:05) 16. Cesar Crosses the Styx – Franz Liszt (4:07) 17. No Turning Around – Vesta Sweetwater (3:09) 18. Julia Sees the Future (1:56) 19. The Wedding of Wow and Crassus (2:14) 20. Catwalk – Osvaldo Golijov, Cyro Baptista, Jamey Haddad & Jeremy Flower (2:38) 21. Nush the Fixer – Jeremy Flower, Osvaldo Golijov, Cyro Baptista, Jamey Haddad & Michael Ward-Bergeman (1:51) 22. In the Bathhouse – Jeremy Flower (1:52) 23. Megalon Team (1:13) 24. Mother (1:42) 25. Julia Comes Home (1:08) 26. The Golden Aleph (0:46) 27. The Poison Letter (1:14) 28. Cicero Versus Cesar (1:04) 29. Insurrection – Jeremy Flower & Osvaldo Golijov (1:49) 30. Learning, Creating, Perfecting, Celebrating – Jeremy Flower & Osvaldo Golijov (0:57) 31. The Turn of the Seasons (1:21) 32. Esperanza (2:56)
OK, just came back from this. Some spoiler free remarks:
I'm afraid the first impression is that of disappointment (two out of five stars on MUBI), but with an open door for improvement after subsequent viewings. It has that potential.
First of all, it's an absolutely bonkers acid trip of a film, which in itself is positive. Some sequences (like a lengthy wedding sequence) is extremely virtousic, like a kaleidoscopic music video. Coppola taking it all out.
But it's also a film that can't BREATHE. It's soooo dense -- extremely dialogue-heavy (with complex dialogue), which is never a good thing for me. Also complex narrative, fast editing (for Coppola) and a surprisingly high amount of close-ups. The result is that the stunning tableaux that it does contain rarely get a moment to shine.
On top of all this is the meta-contextuality, as it comments not only on the rise and falls of empires throughout history, but tries to mirror contemporary political issues as well.
It's very hard to make heads and tails of it all, and the character development (and our understanding of it) is another aspect that gets sacrificed on the altar of "faux mythology", despite good performances by the cast.
This disparate nature of the film - this extremely complexity - is also what creates potential for growth after rewatching. I'm fairly confident this will grow on me when I get the chance to see it again (and when I'm in the mood for it).
The score was great -- heterogenous like the film, but with some impressive orchestral colours. Very much looking forward to hearing it on album.
Sounds terrible. I'm in.
Room for growth on subsequent viewings is interesting. In my experience, it isn't common to actively recognise that beforehand so this must be a very unique picture.
I get that sometimes, if a film is very complex. Even if there are elements of the film that irritate me, I can recognize the quality hidden within that will maybe trigger me on a second or third viewing, when I get more of an overview.
Have had a great chance to listen to this score today while traveling back from Ireland to the United States. Another great entry from the collaborations of FFC and Golijov. Youth Without Youth and Tetro are scores I still return to years after they had come out. Hopefully our resident curmudgeons will give this one a chance as it is the kind of music they keep asking for yet consistently ignored because it isn't slapped on a Star Wars movie or other mainstream tripe.
My jury is still out on the film. I'll see it in theaters hopefully soon.
The film represents the worst of Coppola's inclinations going back to the bad parts of APOCALYPSE NOW: impressionistic filmmaking, quirky perfomances and grandiloquent dialogue tethered to a rudderless narrative. Even so, it might have been strangely hypnotic had the production standards been top-of-the-range. Alas, Vittorio Storaro is not the cinematographer, Walter Murch is not the sound designer, and the music score (which, unless I'm mistaken, at one stage regurgitates a cue from APOCALYPSE NOW) is ineffectual. Some sccenes -- such as a building demolition early on -- look downright cheap.
I very much like this score. Though I likely still will see it, seeing the movie seems disadvantageous now because I know I will forever mentally associate the music with the imagery of the film, and I'd quite like to keep this one standing alone as just 'music'.
I'm surprised at the lack of BUZZ about this one around here. A large section bemoan the loss of EPIC, SYMPHONIC scoring here at FSM, and this one channels Rozsa, Nascimbene et al in all their Golden Age Glory..
Maybe the fall of the film has caused people to turn away?
Maybe the fall of the film has caused people to turn away?
I can't speak for anyone else, but the score is very disparate, like the film, and that may account for some confusion or bewilderment. It has some great tracks, but also some that feel out-of-place, at least as an album experience. But I'm going to sit down and listen in more detail a couple more times, hopefully for a mini review.
I'm surprised at the lack of BUZZ about this one around here. A large section bemoan the loss of EPIC, SYMPHONIC scoring here at FSM, and this one channels Rozsa, Nascimbene et al in all their Golden Age Glory..
Amen, HurdyGurdy. I mentioned this way back in another thread, after I got to see an early press screening in August. 'Epic and Rózsa-esque' were my impressions. And I linked Osvaldo's website:
Now, the steam of people sharing snark and memes to mock the film seems to have overtaken any of its accomplishments. I want go back for a second viewing.
I anxiously awaited this for two decades, only to have it play three cities away from me. My old car isn't what I'd call "highway-primed", gas money is... yeah... and it'll probably be gone by next week, so I had to miss out. Excuse me...
America is too dumb, distracted and self-centered to understand this movie.
Excuse Me…You really have gone where no man has gone before.
Francis Ford Coppola sold his own Winery to help pay for this Megalopolis! Without Ad money Coppola spent $120 Million of his own money. There is that unwritten rule in Hollywood..Do Not Spend Ur Own Money making a Movie! Apparently Francis forgot that rule. Today Megalopolis has made $5.4 million dollars! No. 98 on Box Office Mojo. I would say that Francis will not make his money back on Megalopolis! And Megalopolis has only been released for two weeks!
