In the works since the 1970s, Francis Ford Coppola's self-funded passion project arrives in theaters and Dreamworks' latest stars a robot trapped in a world for which she was never made.
Huh, I'd been kind of dreading THE WILD ROBOT and its long, long advertising campaign that ensnared my kids early on. But maybe a family trip to the moviehouse is in order (I will, of course, be seeing MEGALOPOLIS by my lonesome as God intended).
I'm seeing MEGALOPOLIS Saturday night, in the Ultimate version that includes a lip-syncer. My wife has not heard much about the movie so I'm hoping to keep that a surprise.
I’ll come back to this MEGALOPOLIS review and read it (along with all the other ones) after I have a chance to see it for myself. (I already have my ticket to see it in IMAX tomorrow night.) Good or bad — it doesn’t appear to be a film engineered to garner a response of “indifferent” — I feel I owe it to Coppola to go in with as little foreknowledge as possible.
Me probably not will rush out to see Megalopolis on opening weekend, but it hard to look at these two movies and argue that Marvel era killed idiosyncratic filmmaking. In fact, me would argue that personal artistic visions have persisted where big franchise machines have stumbled.
I've basically been anticipating it to be Youth Without Youth XXL since the first notices came out, so I'm not really put off by this or the other reviews - I know what I'm getting into, more or less.
Your comment about Apocalypse Now having Conrad for a spine is funny, because of course Megalopolis theoretically DOES have something like that in the historical Catilinarian conspiracy, but Apocalypse Now also didn't spend four decades swimming around in his head accumulating detritus.
At times, Megalopolis plays like a great satire, and those are its best moments. Plaza alone recognized and embraced this side of it, to her exclusive credit.
I wish I could read this Megalopolis review right now, but I'm seeing it tonight and I'm going in mostly cold. The only thing I've seen was a Letterboxd jab describing it as "Southland Tales if Southland Tales was directed by an octogenarian wine baron."
Huh, I'd been kind of dreading THE WILD ROBOT and its long, long advertising campaign that ensnared my kids early on. But maybe a family trip to the moviehouse is in order (I will, of course, be seeing MEGALOPOLIS by my lonesome as God intended).
I'm seeing MEGALOPOLIS Saturday night, in the Ultimate version that includes a lip-syncer. My wife has not heard much about the movie so I'm hoping to keep that a surprise.
Wait, what? Is this real? What does that even mean!
Don't look it up any further! Or do, if you're not planning to see it in theatres anyway.
I’ll come back to this MEGALOPOLIS review and read it (along with all the other ones) after I have a chance to see it for myself. (I already have my ticket to see it in IMAX tomorrow night.) Good or bad — it doesn’t appear to be a film engineered to garner a response of “indifferent” — I feel I owe it to Coppola to go in with as little foreknowledge as possible.
Me probably not will rush out to see Megalopolis on opening weekend, but it hard to look at these two movies and argue that Marvel era killed idiosyncratic filmmaking. In fact, me would argue that personal artistic visions have persisted where big franchise machines have stumbled.
I’ve lost track. How many movies deep were we supposed to be into the Dark Universe series by now?
I've basically been anticipating it to be Youth Without Youth XXL since the first notices came out, so I'm not really put off by this or the other reviews - I know what I'm getting into, more or less.
Your comment about Apocalypse Now having Conrad for a spine is funny, because of course Megalopolis theoretically DOES have something like that in the historical Catilinarian conspiracy, but Apocalypse Now also didn't spend four decades swimming around in his head accumulating detritus.
That's a very good point regarding the Catilinarian conspiracy. And also an evocative point about "accumulating detritus"-- great phrase!
At times, Megalopolis plays like a great satire, and those are its best moments. Plaza alone recognized and embraced this side of it, to her exclusive credit.
I wish I could read this Megalopolis review right now, but I'm seeing it tonight and I'm going in mostly cold. The only thing I've seen was a Letterboxd jab describing it as "Southland Tales if Southland Tales was directed by an octogenarian wine baron."
I'm so stoked.