Megalopolis

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Genius artist Cesar Catilina seeks to leap the City of New Rome into a utopian, idealistic future, while his opposition, Mayor Franklyn Cicero, remains committed to a regressive status quo, perpetuating greed, special interests, and partisan warfare. Torn between them is socialite Julia Cicero, the mayor’s daughter, whose love for Cesar has divided her loyalties, forcing her to discover what she truly believes humanity deserves.

Credits: TheMovieDb.

Cesar Catilina: Adam Driver
Mayor Cicero: Giancarlo Esposito
Julia Cicero: Nathalie Emmanuel
Wow Platinum: Aubrey Plaza
Clodio Pulcher: Shia LaBeouf
Hamilton Crassus III: Jon Voight
Fundi Romaine: Laurence Fishburne
Constance Crassus Catilina: Talia Shire
Jason Zanderz: Jason Schwartzman
Teresa Cicero: Kathryn Hunter
Vesta Sweetwater: Grace VanderWaal
Clodia Pulcher: Chloe Fineman
Charles Cothope: James Remar
Commissioner Stanley Hart: D.B. Sweeney
Claudine Pulcher: Isabelle Kusman
Huey Wilkes: Bailey Coppola
Claudette Pulcher: Madeleine Gardella
Aram Kazanjian: Balthazar Getty
Girl Reporter: Romy Mars
Sunny Hope Catilina: Haley Sims
Nush ‘The Fixer’ Berman: Dustin Hoffman
Zena The Model: Sonia Ammar
Dr. Lyra Shir: Neri Oxman
Balin the Fractal: AJ Caba
Assassin Boy: Michael Mourra
Felix the Butler: Charlie Talbert
General: Tommy Lee Driver
Cesar’s Secretary: Caroline Bloom
Bandmaster: George Dillard
Ringmaster: Donald Pitts
Control Room Engineer: Philip Dido
Mrs. Gayle: Gayle Hooker
Laughing Man: James Keane
TV Newscaster: Sean Hankinson
Spanish-Speaking Protester: Andrew Ayala
Mr. Singh: Ritwik Chatterjee
Servilia: Kendra Stout
Non English-Speaking Driver: Max Bojorquez
Board Chairwoman: Renee McNeil
Wall Street Lawyer: Suzan Norton
Wall Street Lawyer: Vince Pasani
Elvis Impersonator: Robert Kim
Sunny Puppet Dancer: Laura Hawkins
Townhouse Guard: Henry Louis Adams Jr.
Dance Instructor: Paul Pudney
Vesta Lookalike: Vanessa Nichole
Vesta Lookalike: Nikki Rush
Vesta Lookalike: Tammy Hurtado
Fake Vesta in Bed: Emma Anne Wedemeyer
Lady Justice Statue: Ivy Lightsey
Mayor’s Aide: Art Newkirk
Mournful Lady Statue: Savannah Powers
Jane Doe: Emily Berry
Self (archive footage) (uncredited): Adolf Hitler
Self (archive footage) (uncredited): Benito Mussolini

Crew:

Unit Production Manager: Robert Mazaraki
Assistant Accountant: Amanda J. Powderly
Production Accountant: Sandra L. Dixon
Controller: April A. Janow
Assistant Accountant: Lauren Michele Reed
Production Supervisor: Gavin Atilano
Conceptual Illustrator: Karl Shefelman
Supervising Art Director: David Scott
Set Designer: Kristen Jenkins
Art Direction: Samantha Avila
Art Direction: Brittany Hites
Set Designer: Nick S. Cross
Art Department Coordinator: Molly Hunter Flick
Set Designer: Daniela Medeiros
Production Design: Beth Mickle
Art Direction: Domenic Silvestri
Set Designer: Ed Symon
Set Designer: Chris Sanford
Storyboard Artist: Cristiano Donzelli
Concept Artist: Dean Sherriff
Intern: Anna Lazzaro
Location Manager: Ian Easterbrook
Production Secretary: Thomas Salomon
Assistant Location Manager: Josh Dillard
Intern: Jacob Jackson
Location Scout: Lenzi Sealy
Transportation Captain: Hector Tapia
Casting: Courtney Bright
Transportation Coordinator: Robert Foster Jr.
Casting: Nicole Daniels
Production Coordinator: Jeremiah Cullen
Location Manager: Dustin Pitan
Second Unit Director: Roman Coppola
Director of Photography: Mihai Malaimare Jr.
Set Decoration: Lisa K. Sessions
Producer: Fred Roos
Orchestrator: Osvaldo Golijov
Rigging Gaffer: Tom Fendley
Lighting Programmer: Mark Stuen
Best Boy Grip: Richard Arnold
Best Boy Electric: Brad Irvin
“B” Camera Operator: Henry Tirl
Extras Casting Assistant: Robb Pendleton
Grip: Logan Russell
Extras Casting Coordinator: Rose Locke
Gaffer: Joseph Harold Page
Rigging Gaffer: Ryan Basso
Grip: Jason Davenport
Video Assist Operator: Ryan Gibbons
Production Assistant: Phil Pomeroy
Dolly Grip: Kenneth Bolton
Grip: Stephen Lamb
Rigging Grip: Stoy Fulcher
Key Grip: Mackie Roberts
Extras Casting Assistant: Patrick Rokn
Gaffer: Jeff Murrell
Rigging Grip: Rick Turner
Second Assistant Camera: Victoria K. Warren
Dolly Grip: Nick Baird
Grip: Josh Rivenbark
Editor: Glen Scantlebury
Editor: Cam McLauchlin
Concept Artist: David Swayze
Second Unit First Assistant Director: Ross Clyde
First Assistant Director: Inti Carboni
Second Second Assistant Director: Laura Brooks
Boom Operator: Bryce Way
Production Sound Mixer: Kaylee Yacono
Additional Second Assistant Director: Philip Banks
Co-Producer: Mariela Comitini
Second Assistant Director: Rachel Jaros
Sound Effects Editor: Josh Brown
Sound Supervisor: Nelson Ferreira
Dialogue Editor: David McCallum
Dialogue Editor: Jill Purdy
Additional Second Assistant Director: Jessica Taylor Galmor
ADR Recording Engineer: Matthew Kabby Kabakoff
Production Sound Mixer: Michael B. Koff
Additional Second Assistant Director: J.H. Carter
Boom Operator: Ian Bender
ADR Coordinator: Jamie Gilmore
Special Effects Technician: Austin Cody Griffin
Special Effects Supervisor: Bob Riggs
Second Second Assistant Director: David Stickler
Sound Effects Editor: Craig MacLellan
Sound Designer: Nathan Robitaille
ADR Voice Casting: Eric Tiede
Special Effects Supervisor: Dylan Kennedy
Special Effects Technician: Walker Rice
ADR Mixer: Colin Rogers
Sound Re-Recording Mixer: Christian T. Cooke
Sound Designer: Tyler Whitham
Sound Re-Recording Mixer: Brad Zoern
Additional Second Assistant Director: Andrew Hudson
Special Effects: Elizabeth Ledezma
Assistant Sound Editor: Scott Hitchon
Special Effects Technician: Joel Studer
Special Effects Technician: Wyatt Young
Special Effects Coordinator: John S. Baker
In Memory Of: Eleanor Coppola
Foley Recordist: Kevin Jung
Producer: Francis Ford Coppola
Assistant Director Trainee: Akshay Bhatia
Utility Stunts: Duane Burkhart
Stunts: Gianni Biasetti Jr.
Stunt Double: Ted Barba
Stunts: Max Bojorquez
Utility Stunts: Max Calder
Stunts: Brent Bernhard
Stunts: Ben Aycrigg
Stunts: Miles Brew
Stunt Double: Corbin Marshall
Fight Choreographer: Noah Bain Garret
Stunts: Ronald Lu
Stunts: Meredith Richardson
Stunts: Hawk Walts
Electrician: Alex Salvato
Stunt Double: Steven Shelby
Electrician: Cornelius Williams
Key Rigging Grip: Frankie Zamora
Stunt Double: Jordan Salmon
Stunt Double: Aaron Matthews
Stunt Double: Jazzy Ellis
Stunts: Duke Jackson
Stunt Driver: Kevin Waterman
First Assistant “B” Camera: Fred Thomas
Stunts: Marcelle Coletti
Stunts: Guru Khalsa
Stunts: Josh Diogo
Stunts: Tej Limlas Ly
Stunts: Remington Steele
Second Assistant “A” Camera: Paul Saunders
Stunts: Jared Losano
Stunts: Alex Whistance
Stunts: Gregory L. Wilson II
Utility Stunts: Jaye Tyroff
Stunts: Jeremy Chapman Webb
Stunts: Nick DeKay
Stunts: Dean Grimes
Stunt Driver: Chase Grohoske
Stunts: Julia Maggio
Stunts: Nancy Young
Stunts: Joe Foley
Stunts: Nick Gaddy
Stunt Coordinator: Jason Gupton
Stunt Double: Floyd Anthony Johns Jr.
Stunts: Ryan D. Olson
Stunt Driver: Charlie Picerni
Underwater Camera: Spencer R. Williams
Stunts: Cory DeMeyers
Stunt Driver: Robert Shavers
Stunts: Dena Sodano
Stunts: Chad Crumley
Stunts: Ryan Green
Stunts: Dan Mast
Stunts: Art Newkirk
Stunts: Bayland Rippenkroeger
Stunts: Troy Roker
Stunts: Marvin Ross
Grip: Tori Roloson
Hairstylist: Charmaine Balcerzak
Hairstylist: Tracie Morrison
Hairstylist: Tracey Moss
Hairstylist: Irenia Vail
Hairstylist: Arlene Martin
Hairstylist: Anna Majewski
Hairstylist: Stephanie Pohl
Hairstylist: John Tarro
Hairstylist: Lindsay McAllister
Hairstylist: Carlie Test
Hairstylist: Latoya Kelley
Hairstylist: Ralph A. Ochoa
Hairstylist: Dawn Turner
Hairstylist: Lance Aldredge
Key Hair Stylist: April Schuller
Assistant Hairstylist: Denise Finley
Producer: Michael Bederman
Makeup Department Head: Valli O’Reilly
Hair Department Head: Terrie Velazquez Owen
Executive Producer: Barrie M. Osborne
Art Direction: Freddy Waff
ADR Mixer: Chris Navarro
Visual Effects Supervisor: Jesse James Chisholm
Makeup Artist: Kaylee Swisher
Makeup Artist: Milene Melendez
Foley Artist: Sandra Fox
Co-Producer: James T. Mockoski
Executive Producer: Anahid Nazarian
Foley Recordist: Chelsea Body
Foley Artist: Andy Malcolm
Makeup Artist: Chauntelle Langston
Producer: Barry J. Hirsch
Makeup Artist: Shannon Pitts
Makeup Artist: Amanda Sprunger
Foley Mixer: Jack Heeren
Original Music Composer: Grace VanderWaal
Makeup Artist: Annette Chaisson
Co-Producer: Masa Tsuyuki
Costume Design: Milena Canonero
Makeup Artist: Nick London
Editor: Robert Schafer
Associate Producer: Adriana Rotaru
Costume Supervisor: Mark Peterson
Executive Producer: Darren M. Demetre
Foley Recordist: Colton Maddigan
Costume Coordinator: Charlotte Nguyen
Foley Recordist: Jenna Dalla Riva
Production Design: Bradley Rubin
Makeup Artist: Patrice Story
Foley Recordist: Davi Aquino
Foley Artist: Goro Koyama
Still Photographer: Phillip V. Caruso
Electrician: Rusty Edmonson
Set Costumer: Chenelle King
Digital Imaging Technician: Eli Berg
Grip: James Henry Benton
“C” Camera Operator: Jeff Crumbley
Grip: Jason JD Davenport
First Assistant Camera: Fabian Erblehner
Set Costumer: Monica Blackmon
Costumer: Sylvia Fuhrken
Grip: Kevin Borisy
Additional Grip: Jimmy Blair
Costumer: Brenda L. Dubone
Costumer: Stephanie Logan
Electrician: Lorenza Amato
Costume Coordinator: Kassia Dombroski
Costumer: Lauren Britt
Stunt Coordinator: Buddy Joe Hooker
Art Department Assistant: Erin Morrell
Thanks: Sam Levinson
Thanks: Benjamin Centoducati
Thanks: Jenny Mac
Title Designer: Derrick Scocchera
Choreographer: Daniel Ezralow
Additional Photography: Ron Fricke
Production Assistant: Anthony Accetta
Production Assistant: Asia Christmas
Production Assistant: Trevor Caruso
Production Assistant: Kristyn Dietrich
Key Production Assistant: Ben Gregory
Production Assistant: Jake Matthew Kelly
Production Assistant: Courtney Miller
Production Assistant: Quan Norris
Production Assistant: Alexandra Olson
Production Assistant: Grace Peterson
Actor’s Assistant: Oriol Piñeiro
Production Assistant: Mickey Potter
Production Assistant: Camden St. Onge
Key Production Assistant: Kathryn Szypulski
Production Assistant: Patrick Tennerson
Production Assistant: Michelle L. Williams
Production Assistant: Je’Vonda Wright
Craft Service: David Michael Brown
“C” Camera Operator: Brian Rosso
Camera Operator: Kendrick Varela
Visual Effects Coordinator: Francesca Albertelli
Modeling: Lissa Katharina Albrecht
Compositing Artist: Ivaylo Andonov
Modeling: Purvez Amirali
Visual Effects Producer: Katrin Arndt
Visual Effects Producer: Darcy Arthurs
Visual Effects Producer: Priyanka Balasubramanian
Compositing Artist: Diego Boccia
Compositing Artist: Tom Bommer
Modeling: Ann-Sophie Breininger
Modeling: Eliot Bret
Compositing Artist: Laura Ludovica Buccinnà
Compositing Lead: Nicolas Burgers
Visual Effects Coordinator: Daniela Garcia Bustos
Compositing Artist: Tiago Cabrita
Compositing Artist: Daniele Carta
Modeling: Sofia Cascais
Compositing Artist: Denis Cesek
Visual Effects Editor: Ryan Chavez
Compositing Artist: Martin Cicmanec
Compositing Artist: Samantha Cortenbach
Digital Compositor: Sabrina Cudemo
Compositing Artist: Stefan Culafic
Compositing Artist: Paul Daiko
Modeling: Stojan Dimov
Modeling: Shannon Shari Drewitz
Visual Effects Coordinator: Promito Dutta
Visual Effects Coordinator: Nathan Easterling
Visual Effects Coordinator: Sabrina Gaber
Visual Effects Coordinator: Elliot Goff
VFX Artist: Raquel Graner
Modeling: Paul Gros
Visual Effects Coordinator: Viktoria Gutheil
Visual Effects Producer: Mei Lee Lim
VFX Artist: Aaron Kaminar
VFX Artist: Josh Jones
VFX Artist: Iasonas Meintanis
VFX Artist: Ron Rhee
Assistant Editor: Joe Binford Jr.
Additional Editor: Peter CabadaHagan
Assistant Editor: Dana Dellapi
Additional Editor: Christopher Donaldson
Additional Editor: Stephen Fletcher
First Assistant Editor: Gretchen Schroeder
Music Editor: Jeremy Flower
Assistant Art Director: David Blankenship
Set Dresser: Ryan Bush
Set Decoration Buyer: Courtney Cocherell
Storyboard Artist: Oscar Chichoni
Set Dresser: Kacie Craver
Set Decoration Buyer: Molly Ebner
Set Dresser: William Egan
Graphic Designer: Stephen Faustina
Storyboard Artist: Craig Gilmore
Set Dresser: Valerie Toner Johnson
Construction Buyer: Scott Lodwig
Set Dresser: Rafael Moreno
Concept Artist: Till Nowak
Set Dresser: Nathan O’Reilly
Property Master: Andrew Petrotta
Storyboard Artist: Vincent Proce
Assistant Art Director: Harshita Reddy
Set Dresser: Robert Saccenti
Graphic Designer: Adee Serrao
Scenic Artist: Todd F. Seay
Set Dresser: Meagan Skerchock
Set Decorating Coordinator: Grace Smith
Construction Coordinator: Chris Snyder
Construction Foreman: Dale Snyder
Set Dresser: Spencer Tortorici
Set Dresser: Paul Tyson
Set Dresser: Joe Walsh
Art Department Coordinator: Jennifer Wang
Set Designer: Randall D. Wilkins
On Set Dresser: Willem Zumwalt
On Set Dresser: Scott Johnson
Makeup Artist: Scott Wheeler

Catogories:

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Language:
English,Français,Latin,Pусский,Español
Production:
United States of America
Company:
American Zoetrope,Caesar Film
Popularity:
508.056
Date:
2024-09-25
Year:
2024

Manuel São Bento: FULL SPOILER-FREE REVIEW @ https://fandomwire.com/megalopolis-review-admirable-ambition-meets-chaotic-execution-in-francis-ford-coppolas-epic/
“Megalopolis is an ambitious epic that attempts to examine numerous thought-provoking themes, but Coppola’s vision of societal reconstruction reflects both its grandeur and the inherent flaws of its chaotic execution.

Despite immersive visuals and a talented cast, the narrative becomes overloaded with metaphors and philosophical analogies, resulting in an experience that, while provocative, feels confusing and scattered. The central conflict between Cesar and Cicero offers intriguing moments, but the richness of the ideas often gets diluted by the film’s excessive complexity.

A frustrating disappointment that, even as the creation of one of the greatest filmmakers of all time, still falls prey to the common pitfalls of contemporary cinema.”

Rating: C-
Brent Marchant: In the interest of full disclosure, it pains me to write this, but I feel I must be honest. Legendary writer-director Francis Ford Coppola’s long-awaited epic cinematic fable is, regrettably, a major disappointment. After decades of stop-and-start development, the filmmaker’s metaphorical opus about a renowned, idealistic architect (Adam Driver) seeking to build an ambitious utopian development in a modern-day version of New York inspired by ancient Rome follows the protagonist’s often-frustrated efforts to get the project off the ground (not unlike the production of this movie itself). Thematically speaking, the picture addresses a number of thoughtful, significant issues about the roles of greed, corruption, politics and agenda-based motivations in matters of public welfare, as well as the importance of enabling the expression of inspired creative freedom. It also delves into the relevance of love and support in fueling the success of such ventures. However, these notions are severely undermined by an overwhelming abundance of narrative clutter and style over substance. While it’s true that “Megalopolis” is gorgeous to look at with its inventive and impressive cinematography and production design, these visual aspects become so dominant that they vastly overshadow the coherence and intelligibility of the story. Admittedly, a greater sense of clarity begins to emerge as the picture unfolds, but, unfortunately, by that point, it’s difficult to imagine almost anyone genuinely caring about what ultimately happens. There are also many less-than-subtle parallels between the plot of this film and the screen adaptation of author Ayn Rand’s best-selling novel “The Fountainhead” (1949), raising some questions about the authentic originality of this work. Given that this could well be Coppola’s final film, it’s a shame to see the director wind up his repertoire with such a disappointing and underwhelming effort, and some reviewers (myself included) have tried mightily to avoid being unduly unkind, perhaps delivering more generous ratings than might ordinarily be the case. Nevertheless, it would appear that this allegorical undertaking was more than the filmmaker could manage, and it shows in the finished product, quite a letdown from the director known for such classic offerings as “The Godfather” (1972) and “Apocalypse Now” (1979). Yet, if you’re determined to see it, in light of the stunning visuals, this is probably a production best viewed on the big screen, but don’t be surprised if you walk away from this one disappointed overall.
CinemaSerf: So imagine that the Roman Empire survived the turbulent treacheries of the original Caesars and made it to third millennium. (New) Rome has miraculously relocated to the United States (of course the greatest country the world has ever known) and the city is run by mayor “Cicero” (Giancarlo Esposito). He’s not without his detractors, though, and one of them is the ambitious “Cesar” (Adam Driver) who has ambitions to reinvent their city, Nero-style, by demolishing the run down slums and replacing them with an idealistic utopia constructed of his new, eternally lasting, “Megalon”. The city’s vested interests are lined up against this young man though, all except the mayor’s daughter “Julia” (Nathalie Emmanuel) who has taken a bit of a shine to the ambitious “Cesar” – and that’s much to the chagrin of his previous squeeze “Wow” (Aubrey Plaza) who decides that she will seek some vengeance by marrying the enormously wealthy, and aged, “Crassus” (Jon Voight). Add to this already rather cluttered mix, the personality of “Clodio” (Shia LaBoeuf) who is determined to bring down “Cesar” and see himself in public office – and inherit the “Crassus” fortune, and we have the makings of an internecine intrigue that ought to have made Suetonius and Machiavelli blush. Instead, well, we get a rambling drama that hasn’t a clue where it’s going – nor for whom it is for. It tries to mix a bit of the ancient Shakespeare (and Marcus Aurelius) into the dialogue to lend some gravitas and sense of history to the plot, but for the most part this is just a confused mess of a film. It’s a toss up between LaBeouf as the the over-the-top, hammy, “Clodius” and Voight’s doddery old gazillionaire as to who takes what acting plaudits there might be here, but the rest of the cast look like fish out of (CGI) water and though the production makes the odd to nod to cinema history – there’s a tiny bit of Fritz Lang here, I though – the rest of this comes across as an ill-inspired vanity project for Francis Ford Coppola that can’t decide if it’s “Romeo & Juliet” or “Spartacus” and in the end doesn’t deliver the potency, emotion, intensity or humour of either. It is a good looking film and the production designers have imaginatively created a city-scape that is ripe for the story, it’s just that the story isn’t ripe for the audience. It does need to be seen on a big screen, but be prepared to be underwhelmed as it starts strongly then simply peters out into a wordy melodrama with a few clumsily delivered messages about the nature of greed and the fecklessness of humanity lightly woven into the weak storyline. Beware, it ends tentatively enough to scream sequel at us, too!
Wuchak: **_Colorful, eccentric, intellectually heavy and full of pizazz, but not for the masses_**
A brilliant architect (Adam Driver) is determined to recreate a core section of New Rome in the later 21st century with a revolutionary bio-adaptive material called Megalon. But the new mayor resists these creative plans because he’s content with the way things are (Giancarlo Esposito). As such, the mayor’s not happy when his daughter (Nathalie Emmanuel) starts to develop a relationship with the prodigy. Shia LaBeouf plays a decadent troublemaker while Aubrey Plaza appears as a scheming TV presenter drawn to the financial backbone of the city (Jon Voight).

Francis Ford Coppola first came up with the idea for “Megalopolis” in 1977. It was inspired by Lucius Sergius Catiline’s failed attempt to take control of the Roman republic in 63 BC, but lost to his rival Marcus Tullius Cicero. Even though Francis compiled hundreds of pages of notes and script fragments for the project in early 1983, the first serious attempt to go forward with making the movie was in 2001-2002, but the production eventually froze for various reasons, including the 9/11 terrorist attacks.

When Coppola turned 80, he decided to throw caution to the wind and finally make the film, financing it himself at a cost of $120 million, with shooting taking place between November and March, 2022-2023. So, is it any good? Some critics call it a “big mess,” but the plot is actually simple, as detailed above. It’s Francis’ artsy style that throws people off wherein he respects the intelligence of the viewer to put the pieces together. This approach was evident in his previous pictures, like “One From the Heart,” “Rumble Fish,” “Bram Stoker’s Dracula,” “Youth Without Youth” and “Twixt” (aka “B-Twixt Now and Sunrise”). Speaking of those flicks, if you liked any of them, or hated ’em, this is cut from the same artistic cloth.

As observed with “Tucker: The Man and His Dream,” “Tetro” and even “Apocalypse Now” (the character of Kurtz), Coppola likes to parallel aspects of his own life in his movies. Here, he’s Cicero (Driver), an award-winning genius who has an ambitious new project that will revolutionize the landscape if carried out, but those in power oppose his noble efforts. He’s constantly slandered or framed with his indiscretions not helping matters. He’s also troubled by the death of his wife and his unborn children (remember the tragedy of Francis’ eldest son, Gian-Carlo, in 1986?). Yet he presses on with his vision and ultimately changes the world with his art.

At the end of the day, the movie’s entertaining on several fronts and stuffed with quality mindfood, not to mention it has a welcome warmhearted close. I busted out laughing on several occasions in light of the creative madness of it all. For those who say the amusement was “unintentional,” I guess they never saw Coppola’s previous film “Twixt,” not to mention earlier ones like “You’re a Big Boy Now.”

I see the city of Megalopolis as a type of the New Jerusalem in the Bible, the eternal city described in Revelation 21-22 (awesome streets of gold and all that). “The wages of sin is death, but the gift of God is eternal life” and so the impenitent in the movie reap the wages of their transgressions whereas those who change their minds/thinking/actions (that is, they repent) are able to enjoy the benefits of the amazing new city.

If you value it, this is a flick you’ll be able to go back to for gems missed on previous viewings.

It runs 2 hour, 18 minutes, and was shot in Manhattan and Trilith Studios, Atlanta.

GRADE: B+/A-

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