Megalopolis: there is some value to ambition and idealism, but that doesn’t keep a failure from being a failure. Francis Ford Coppola’s long-gestating project tells the story of an idealistic and ambitious artist (see what he is doing there?) intent on rebuilding the city he lives in, facing the political and economic powers of the place. The film clearly condemns excesses and decadence, but it still is, unironically, excessive and decadent itself. It’s also confusing, with too many characters and competing agendas. The performances are uneven; most characters seem to have a moment or two of great excess; Shia LaBeouf, whose character happens to be the biggest headscratcher of them all, is the guiltiest, followed closely by Aubrey Plaza; Laurence Fishburne, is the least. As the protagonist, Adam Driver is fine, but he is hardly projecting what is supposed to make the character so special. Nathalie Emmanuel, as his love interest, is good as well.

Designer Milena Canonero’s costumes are very well done. Cinematographer Mihai Malaimare Jr.’s images are not particularly attractive, a problem increased by the iffy special effects. Composer Osvaldo Golijov’s musical score is not memorable but fits the material.