Megalopolis review: A magical, meandering, maddening epic

There are times when this whole film critic gig feels paltry, when writing a few hundred words moments after a decade of toil, tens of millions of dollars from a personal fortune, and the hours and talents of hundreds of performers and craftspeople have all gathered to bring the singular vision of an irascible yet immensely successful auteur to the screen.

Supposedly the sparks for Megalopolis date back to this era, and there’s certainly a malarial feeling to how it all unfolds, as if we are once again going on a cruise upriver to regions unknown. After four decades of false starts, Coppola pledged a personal fortune and assembled his fine cast, and then unleashed it in competition here at the same Cannes Film Festival where his prior apocalyptic vision debuted all those years ago.

Cannes Film Festival Francis Ford Coppola Entertainment Culture Plutarch Caesar Giancarlo Esposito Beau Is Not Afraid Oscars Babylon Eleanor Coppola Jon Voight Labeouf Jason Schwartzman Kathryn Hunter HBO Dustin Hoffman The A.V. Club

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