As a cinephile who has spent countless hours in movie theaters and even more time poring over film reviews, I must say that the story of “Megalopolis” is as intriguing as the film itself. It’s a tale of ambition, innovation, and ultimately, the harsh realities of the entertainment industry.
Initially, no film studios were interested in producing “Megalopolis,” Francis Ford Coppola’s blend of retrofuturistic architecture and Roman history, due to its unique concept and high production cost (ranging from $120 to $136 million). Now that the movie has been released nationwide, it’s clear why studios were hesitant: “Megalopolis” hasn’t resonated with audiences, with many viewers expressing indifference towards it. The film’s earnings during its first weekend were estimated at $4 million, falling short even of the initial predictions of a $5-7 million opening.
Coppola and his supporters are likely to claim that the movie is a misunderstood work of great artistry. While it may be simple to argue that the film’s complexity makes understanding it challenging, whether it truly qualifies as a masterpiece remains debatable. Regardless of your stance on the artistic value of “Megalopolis,” one thing is clear: it has been an undeniable commercial failure—a fate that was foreseeable given its problematic production history, confusing content, recurring disputes, and negative publicity leading up to its premiere. Let’s delve into the various aspects that contributed to “Megalopolis” becoming a massive disappointment.
Francis Ford Coppola hasn’t had a hit in decades
In today’s film industry, only a few directors like Christopher Nolan, Jordan Peele, and James Cameron can almost ensure box office success just by being associated with their films. However, even Steven Spielberg isn’t a guaranteed success anymore following the underperformance of “West Side Story” and “The Fabelmans,” despite receiving positive reviews. Martin Scorsese has resorted to using streaming services for his projects. Interestingly, the promotion for “Megalopolis” mainly focused on Francis Ford Coppola, a director who was once revered alongside Spielberg and Scorsese but whose later career success hasn’t been as prominent.
Francis Ford Coppola achieved his most renowned films during the 1970s, including “The Godfather,” “The Conversation,” “The Godfather Part II,” and “Apocalypse Now.” These movies have become legendary. However, his work in the ’80s and ’90s wasn’t as consistent. For every successful movie like “Bram Stoker’s Dracula,” there was a flop to balance it out. In fact, “Megalopolis” is not the first time he took financial risks for an ambitious, utopian project on the big screen and faced failure – this also happened with 1981’s “One From the Heart,” which likewise bombed at the box office.
Coppola’s standing suffered significantly and hasn’t fully bounced back since then. Consequently, he doesn’t often come up in conversations among younger, casual movie-watchers, while older viewers might view his comeback to directing, following a 13-year hiatus, with a touch of caution. For “Megalopolis” to stand a chance, it must prove its worth independently, but so far, that hasn’t been the case.
Working on the script for 40+ years left it a mess
Back in 1977, I, as a visionary gamer, first dreamt up “Megalopolis” – a grand, four-part operatic journey. Over the years, this idea simmered and brewed within me, and it wasn’t until 1983 that I decided to seriously bring it to life on the big screen. For nearly four decades, I attempted to make it a reality, only to find myself drawn back to it time and again. One might expect such an extended labor of love would result in a timeless masterpiece. Regrettably, the finished product is more like a chaotic puzzle, with too many bizarre elements that refuse to fit together coherently.
What’s the reason behind Cesar Catilina (played by Adam Driver) stopping time and what benefits does this power offer him as an architect? Why does he recite the entire “to be, or not to be” soliloquy from Hamlet? What significance does the Russian satellite hitting New Rome have if its consequences aren’t explored later on? Is Megalon a creation of Cesar’s deceased wife, an embodiment of love, or something else entirely? In what ways is Megalopolis functional beyond resembling those “The World If…” memes? These questions can be answered with reference to earlier versions of the script, where it’s revealed that Megalon was constructed from trash and Megalopolis serves as a place where debt is abolished, and technology replaces labor, allowing individuals to pursue their passions.
The completed “Megalopolis” seems more like a disjointed collection of sequences penned at various time periods throughout history: The Cold War era, post-9/11, and the Trump administration. If the script wasn’t already chaotic enough, Coppola encouraged his actors to improvise numerous scenes, which may have added to the unsettling shifts in tone, making it seem as if the characters are starring in entirely different films.
That huge budget wasn’t on the screen
Despite its narrative and tonal issues, you’d expect a science fiction film from a renowned director, produced with an impressive budget ranging from $120 million to $136 million, to be visually stunning. Indeed, “Megalopolis” boasts some awe-inspiring visuals, particularly in the scenes where Cesar is under the influence of acid and his injured face is reconstructed with Megalon. However, these instances of Fritz Lang-like grandeur are not as frequent as one might anticipate. Instead, “Megalopolis” often shifts between dialogue sequences that lack visual interest and green screen/CG effects that, for a significant portion of the runtime, look surprisingly amateurish for a major theatrical release.
When a visually stunning film like “Poor Things” can be produced for $35 million, one might question why Francis Ford Coppola’s “Megalopolis” appears so underbudgeted. It turns out that a significant portion of the production budget was not effectively utilized on-screen. During mid-production, Coppola dismissed his entire visual effects team, and members of the art department followed suit shortly after. According to several sources involved in the project, Coppola was frequently indecisive about the film’s aesthetic.
Despite his disdain towards Marvel films, Coppola encountered similar issues that have been problematic in the Marvel Cinematic Universe: Frequent last-minute alterations leading to overworked visual effects teams and subpar results. Given his extensive four-decade career, it’s hard to justify the lack of clarity he provided for his VFX team when it came to realizing his vision.
Hiring canceled actors likely didn’t help
In a conversation with Rolling Stone, director Francis Ford Coppola highlighted that the cast of his film “Megalopolis” includes individuals who have faced cancellation at some point. He emphasized his desire to avoid labeling the movie as a politically correct Hollywood production. This perspective is particularly relevant when considering Jon Voight’s role as Hamilton Crassus III, given that including a conservative actor known for supporting Trump in a film criticizing Trump aligns with Cesar’s belief in engaging with people we disagree with. However, casting Dustin Hoffman as “The Fixer” Nush Berman is more challenging to justify, considering Hoffman was accused of sexual harassment on multiple occasions.
In a turn of events, Hoffman’s return to the big screen as a voice actor in “Kung Fu Panda 4” demonstrates that he isn’t toxic at the box office. However, his involvement in “Megalopolis” stirs up controversy. The situation becomes even more contentious with Shia LaBeouf, who portrays the main antagonist Clodio Pulcher. LaBeouf is scheduled for a trial on charges of physical and sexual abuse, mere weeks following the movie’s release. Even those who strive to separate the art from the artist may find it challenging to ignore such issues when the narrative of “Megalopolis” integrates them so deeply: Clodio falsely accuses Cesar of statutory rape involving underage pop star Vesta Sweetwater, played by Grace VanderWaal.
Should you or someone you’re acquainted with have experienced sexual assault or child abuse, please reach out to the following resources for assistance:
You can visit the Rape, Abuse & Incest National Network (RAINN) website or reach out to their National Helpline by dialing 1-800-656-HOPE (4673).
You can reach out to the Childhelp National Child Abuse Hotline by dialing 1-800-4-A-Child, which is 1-800-422-4453. Alternatively, you can also connect with them via their live chat services.
Allegations about Coppola’s behavior on set caused controversy
It’s worth noting that Francis Ford Coppola, like some of the actors he employed, has faced accusations of inappropriate behavior on set. The Guardian initially reported incidents where Coppola allegedly attempted to hug and kiss naked female extras during a nightclub scene filming. Subsequently, Variety obtained video evidence seemingly supporting these claims. One extra stated that Coppola never made her feel uneasy, while another alleged that he failed to seek consent and has filed a lawsuit against Coppola for sexual harassment and assault. [Deadline reported this as well.]
In this scenario, Francis Ford Coppola is taking legal action against Variety for making defamatory statements. According to a report published by Deadline, Coppola’s lawyers argue that he is a creative genius in the film industry, and some individuals may be envious of his talent, leading them to spread unfounded and careless falsehoods about him. These claims, regardless of their accuracy, might have discouraged audiences from attending “Megalopolis” when it was screened in cinemas.
Megalopolis got extremely mixed reviews
The only hope a movie as confusing, uncommercial, and controversial as “Megalopolis” had of making any money rested on critical acclaim. From the time “Megalopolis” made its world premiere at Cannes, however, it was clear the film was dividing critics. Yes, the film got a 7-minute standing ovation at the prestigious festival, but it proved extremely divisive among critics. As of this writing, it has a 49% Tomatometer score and a 55 on Metacritic.
Despite the fact that many admirers of the movie found it impressive, they still had reservations. IGN’s Siddhant Adlakha described it as “frustrating” yet applauded its “deeply personal vision” and “stunning transformations”. David Ehrlich from IndieWire appreciated the film’s optimism towards the future and creative passion, but admitted that its “unconventional approach” might have led to a lack of dramatically consistent scenes. Audrey Fox from Looper gave a mixed review, calling it “objectively poor yet incredibly bold”.
As a passionate movie enthusiast, I was left feeling rather disappointed after watching “Megalopolis.” Odie Henderson from The Boston Globe wrote that it feels like every bit of this once-revered filmmaker’s talent was sold along with his vineyard. Similarly, Maureen Lee Lenker of Entertainment Weekly couldn’t fathom that the same brilliant mind behind the first two “Godfather” films could have directed this movie. In her scathing review, she awarded it an F grade and proclaimed, “Not only is this film a far cry from cinema’s greatest achievements, but it also marks the creation of one of its worst.
Poor audience scores also doomed Megalopolis
Critics can’t seem to agree on the movie “Megalopolis,” but it appears that regular moviegoers have a strong dislike for it. The opening day audience survey by CinemaScore yielded an abysmal D+ average score, and it’s worth noting that CinemaScore ratings usually lean towards the positive. Additionally, Comscore/Screen Engine PostTrak polls assigned it an average of just one star.
From my gaming perspective, as I delve into the world of movie reviews, it seems that the audience’s response to this film, according to Rotten Tomatoes’ Popcornmeter, stands at a dismal 36%. Metacritic users have given it a paltry 4.6 out of 10, and on IMDb, the average rating is a meager 5.2 out of 10. Even on Letterboxd, a platform known for its discerning cinephiles, the film averages a modest 2.5 out of 5.
Essentially, many regular viewers find “Megalopolis” unappealing, which means they’re less inclined to suggest it to others. The lackluster audience response to “Megalopolis” has significantly reduced its chances of gaining success through word-of-mouth, making the disappointing opening weekend box office performance even more pronounced.
The trailer got pulled after an embarrassing blunder
It appears that marketing Megalopolis was quite challenging for Lionsgate. Their promotional efforts, aimed at boosting its image, unfortunately resulted in an awkward situation. The trailer attempted to preempt negative festival feedback by highlighting past criticism Francis Ford Coppola received for films like “The Godfather,” “Apocalypse Now,” and “Bram Stoker’s Dracula,” suggesting Megalopolis is another underrated masterpiece. The tagline, “You’re not ready for this yet, but your kids will love it,” is indeed a marketing tactic, although it isn’t unheard of for films to capitalize on negative reviews (as seen in the “Two Thumbs Down” ad for David Lynch’s “Lost Highway”). However, it’s unique that they used reviews that never actually took place.
That’s right: The quotes about Coppola’s past work used in the “Megalopolis” trailer were fake. Pauline Kael of the New Yorker was quoted as saying that “The Godfather” was diminished by its artsiness” when she actually adored the film, and the Roger Ebert quote supposedly dismissing “Bram Stoker’s Dracula” as a “triumph of style over substance” came from his review of Tim Burton’s “Batman.” Bad reviews do exist for all of Coppola’s most celebrated films, but a now-fired marketing strategist reportedly decided to ask ChatGPT for negative quotes about them rather than taking the time to read the reviews. Lionsgate apologized and the trailer got pulled, leaving “Megalopolis” with even less marketing visibility — and more controversy.
Not many people got the chance to see the Ultimate Experience version
As a passionate gamer, if you’re still intrigued by “Megalopolis”, you might be craving the immersive, mind-blowing experience that the Cannes and Toronto International Film Festival goers had. During those screenings, an actor impersonating a reporter stood up, questioning the screen, to which Cesar would respond. This interactive element was supposed to be even more engaging with Amazon Alexa technology, allowing the audience to ask their own questions, and Cesar would provide the most fitting answer. Unfortunately, this innovative feature almost came to life but was put on hold when the team working on it was let go during a massive layoff in 2022, as reported by The Verge.
In most multiplex showings, even the scaled down interactive/theatrical element no longer exists, with Cesar just responding to a voiceover on the soundtrack. Only a few showings at select theaters, labeled “The Ultimate Experience,” have replicated the live moment that drove critics nuts at film festivals. Predictably, these are the only showtimes that have sold out. “Megalopolis” averaged $2,157 per theater in its opening weekend, but at the AMC Lincoln Square in New York City, which hosted multiple “Ultimate Experience” screenings including a preview screening with Coppola in attendance, it made over $84,000.
Lionsgate is on a losing streak
The primary financial responsibility for the aftermath of “Megalopolis” explosion largely rests upon the Coppola family, as Francis Ford Coppola himself funded the film’s production, while his nephew Robert Schwartzman’s company Utopia managed its marketing. Since Lionsgate only purchased distribution rights and is thus relieved from marketing expenses, they could potentially profit from “Megalopolis,” despite its poor performance. However, this marks another setback for Lionsgate following the box office flop of their $145 million-budgeted video game adaptation “Borderlands.” The film had a dismal domestic opening weekend of $8.8 million and failed to double that with a total domestic gross of only $15.48 million.
Apart from these facts, it’s worth noting that even with a budget of approximately $50 million, the 2024 remake of “The Crow” didn’t fare well at the box office. It opened domestically with just $4.6 million and ended up earning only $9.27 million in total. Similar recent releases from Lionsgate such as “1992,” “The Killer’s Game,” and “Never Let Go” had limited marketing efforts and generated minimal returns at the box office. Fingers crossed that their 2025 lineup, featuring a Michael Jackson biopic and new chapters in the “John Wick” and “Saw” series, will help Lionsgate recover from its underperforming 2024 at the box office.
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2024-09-30 20:00