Lionsgate on Monday said it has picked up the rights to Francis Ford Coppola’s “Megalopolis” for the U.S. and Canada, ending months of speculation over which studio might distribute the famed director’s epic passion project. The film will hit domestic theaters, including Imax screens, on Sept. 27.

“Megalopolis” is the first new film from the five-time Oscar winner since 2011’s “Twixt” and Coppola is reported to have invested some $120 million of his own money, raised from the sale of part of his wine business, to pay for the ambitious tale.

With a cast that includes Adam Driver, Aubrey Plaza, Giancarlo Esposito, Nathalie Emmanuel, Talia Shire, Jason Schwartzman, Chloe Fineman, Jon Voight, Shia LaBeouf and Laurence Fishburne, the film is a sweeping fable surveying power struggles set against a fictionalized New York, refashioned to seem like New Rome.

When the film premiered last month at the Cannes film festival, The Times’ Josh Rothkopf wrote that if “Megalopolis” becomes the last effort from the 85-year-old “Godfather” filmmaker, then “he’s going out not with something tame and manicured but with an overstuffed, vigorous, seething story about the roots of fascism that only an uncharitable viewer would call a catastrophe.”

“It may be the most radical film he’s ever done,” Rothkopf wrote.

Lionsgate has a longstanding relationship with Coppola and his American Zoetrope banner, having previously handled home entertainment releases of his “Apocalypse Now Final Cut,” “The Conversation,” “The Cotton Club Encore,” “Tucker: The Man and His Dream” and “One From the Heart: Reprise.”

While speaking at the film’s Cannes press conference, Coppola referred to the bold, stylistic leap of “Megalopolis” by saying, “I knew the film was not like other films that are out. It’s how I felt the film should be, and since I was paying for it I thought I was entitled [to do it my way].”

Back in 2015, Disney and Pixar introduced us to 11-year-old Riley and the squabbling emotions inside her prepubescent head. To make a long story short, Joy (Amy Poehler) tried to retain dominance over the girl, but Sadness (Phyllis Smith) kept creeping her way in. The struggle led to both emotions getting kicked out of Riley’s conscience. Following an adventure through the girl’s psyche, both emotions made their way back and Joy realized that she had to share Riley with other emotions, even unpleasant ones, in order for her to get the most out of life. In this new movie, Riley’s five core emotions want to retain dominance over the girl, but new emotions creep their way in. This leads to a struggle where the old emotions get kicked out of Riley’s conscience. They’ll have to go on an adventure through the girl’s psyche to make their way back and hopefully obliterate the new emotions. Or maybe they’ll learn to share and the message will be exactly the same as in the first movie.

For the record, I wasn’t a big fan of the first movie. Don’t get me wrong, I thought it was okay, and it kept the streak of at-least-passable Pixar alive until “Lightyear” two years ago. But setting up this elaborate world of personified emotions led to countless questions that the movie wasn’t prepared to answer, and without answering those questions, it didn’t make sense. Sometimes the nonsense played to its adventage, like a deus ex machina toward the end involving stackable crushes. Other times it hurt the movie, like leaving me wondering if these characters even had lives that were at stake, and what might happen to Riley if those lives were lost. The new movie raises more new questions than it answers, but this time I’m a little more comfortable knowing that the movie is prepared to answer some questions and not others.

For the new movie, Riley (Kensington Tallman) is going to hockey camp with her best friends Grace (Grace Lu) and Bree (Sumayyah Nuriddin-Green). Joy is looking forward to guiding her, along with core emotions Sadness, Anger (Lewis Black), Disgust (Liza Lapira), and Fear (Tony Hale). But Riley hits puberty the night before the camp, ushering in new emotions Anxiety (Maya Hawke), Envy (Ayo Edebiri), Embarrassment (Paul Walter Hauser), and Ennui (Adele Exarchopoulos). Anxiety proves useful in a few social situations, but clashes with Joy when the latter wants Riley to stay loyal to her old friends, as opposed to endearing herself to the more popular Val (Lilimar). The new emotions banish the old emotions to the back of Riley’s mind until she can be completely reworked.

My problem with the movie, other than that the story progression is pretty much the same as the first movie, is once again at the literal level. I can understand a kid with conflicting emotions, but what happens when a kid is missing five of them, as is the case here? If Riley is being controlled by the four new emotions, what’s making her competent at hockey? And why do the filmmakers think that Anxiety doesn’t manifest until puberty? What are young kids famous for saying on car trips? “Arewethereyet? Arewethereyet?” That’s Anxiety, guys.

Of course, just as the “Inside Out” movies teach audiences to take the bad with the good, I must remember to take the good with the bad. And there is a lot of good here. The animation is as colorful and delightful as ever, the emotional moments had me feeling for the characters, and the humor consistently hits. My favorite gags involve cartoon characters stuck in the back of Riley’s mind. Video game character Lance (Yong Yea) is another helpful crush of Riley’s, Pouchy (James Austin Johnson) is a little too happy to provide explosives, and Bloofy (Ron Funches) is a fourth-wall breaker with no fourth wall to break (you can practically hear the Disney writers saying, “Take that, Nickelodeon!”). These characters, more than the emotions, were the highlight of this passable Pixar affair.

Grade: B-

“Inside Out 2” is rated PG for some thematic elements. Its running time is 96 minutes.

Contact Bob Garver at rrg251@nyu.edu.

“I haven’t seen this one specifically,” Leo Woodall says as a sheepish smile — the one that has made a fair number of hearts flutter since Netflix dropped its adaptation of the angsty romantic drama “One Day,” in which he stars — stretches across his face.

Woodall is well aware there is a trove of TikTok videos that document viewers’ intensely emotional response to the series, which chronicles the 20-year torturous slow burn of unlikely friends Dex (Woodall) and Emma (Ambika Mod). His friends have passed some on, he says. But after pleasantries are exchanged at the start of this video call on a mid-May morning — with Woodall beaming in from London — I share my screen to guide him through a TikTok sampler of heartache that has been recorded.

He lets out an enthusiastic chuckle as he braces for impact.

There’s a young woman, draped in a green blanket, in various states of complete anguish. Another video is a close-up shot of a young woman wiping tears from her face while watching an early interaction between Dex and Emma with the caption: “Me 2 days later still crying watching edits.” The final video features a viewer who has just completed the series, camera turned to her face as she lies in utter despair against a pillow. One by one, Woodall lets out a guilty whimper or “Oh, noooo!” as he screens them.

“We could watch these all day,” Woodall says as the brief presentation nears its end.

“In the beginning, when the show came out, I was trying to keep up with some of the reactions to it,” he adds. “I was just very intrigued and anxious to know what people thought and how they were responding to it — if they responded to it at all. But there’s something cathartic and therapeutic about it. Everyone needs a good cry. We spend a lot of our time watching things, and you don’t always have a real, emotional reaction. And I think the show really succeeded in lancing its way into people’s hearts.”

It’s also helped the actor’s rising profile, taking him from a virtual unknown to an international heartthrob. After a key supporting turn in the sophomore season of HBO’s “The White Lotus,” playing the alleged “nephew” of a gay man trying to scam Jennifer Coolidge‘s wealthy character, the 27-year-old actor sent the internet into emotional freefall in February with the launch of the adaptation of David Nicholls’ bestselling novel. In the melancholic, angst-ridden friends-to-lovers tale — previously adapted for the big screen in 2011 with Anne Hathaway and Jim Sturgess — Woodall’s Dexter is privileged and charismatic but emotionally tortured as the series chronicles his evolving friendship with his witty and stubborn BFF across two decades on the same day.

“There’s definitely a kind of projection that people put on you,” he says. “I myself have done it with actors that I’ve watched. It’s just a natural thing that you do. Being on the other end of it was kind of a strange feeling. You just can’t take it too seriously. You have to find it funny and just get on with your life a little bit. Giving it too much attention is not something I would want to do. It’s just a funny part of life now.”

Not that Woodall has had much time to make sense of the attention. Soon after “One Day” premiered, he took a breather from Instagram: “My followers were going up and up, and I was like, ‘Oh, cool.’ But then I was like, I’m going to put my phone away.” He also began production in Budapest, Hungary, on the Nazi drama “Nuremberg,” a film whose cast includes Russell Crowe, Michael Shannon and Rami Malek. With that now wrapped, he’s begun work on the fourth installment of “Bridget Jones’s Diary” opposite Renée Zellweger.

Next up for Leo Woodall? Appearing in the upcoming “Bridget Jones: Mad About the Boy.”

(Jennifer McCord / For The Times)

Although Woodall comes from a family of actors — his parents met at drama school and he is a descendant of silent film star Maxine Elliott — he hadn’t always dreamed of pursuing life as a performer. He thought maybe something sporty was in his cards. Then he discovered “Peaky Blinders” and “Skins,” and the curiosity kicked in.

“I just remember I was in a gap year, working in a bar, not doing anything of great worth for my future, and I guess I started just kind of thinking about it,” he says. “It was a few things: It was ‘Peaky Blinders,’ also ‘Skins.’ I watched the two seasons that Jack O’Connell was in. I remember seeing his character and being like, ‘Whoa, that’s fun. Whatever he’s doing, that’s cool.’ I started looking into how he got to where he was and his road to playing that character. And yeah, watching ‘Peaky Blinders’ and just felt like doing a Tommy Shelby (Cillian Murphy) impression in the mirror. [Laughs] I had the hat, and I was like, ‘Screw it, no one is looking. I’ll just do it.’ It’s so embarrassing. I would start improvising in the world of ‘Peaky Blinders.’”

He graduated in 2019 from Arts Educational School, where he studied acting, before landing minor roles in such TV shows as “Vampire Academy” and “Citadel.” He was filming “The White Lotus” when he watched the film version of “One Day” as prep work for his audition: “I didn’t know how it was gonna end,” he says. “And I remember I was in my kitchen cooking something, and I turned my eyes away for a second and I look back and Emma had been hit. And I was like, ‘What the f—? How could you do us like that?!’”

It added to his intrigue of, as he describes it, “a love story that wasn’t really just a romantic story. It’s about these two people who grow up together, and also apart. It’s about their friendship more than it is about, ‘Are they gonna get together?’ I know that is a huge part of it, but you do just see a real friendship.” Then there’s the complexity of Dex’s journey.

“He’s unbelievably fragile and vulnerable,” he says. “I think there’s a perception of him — not just from the people within the world of the story but people who have now seen the show — that he’s got kind of a reputation and you learn as you go on that he’s very insecure, he’s lonely a lot of the time. He just wants to be connected to the people that he cares about. He gets in his own way a lot of the time. But truthfully, he’s just someone who has a big, big heart. And it gets broken more than once.”

Woodall humbly scoffs when asked what he’s learned about what goes into playing a leading man — “Oh, I still don’t know. Honestly, there’s so many things to figure out still. The very beginning of shooting, I didn’t exactly know which foot to put forward. Then I was like, ‘Just do your job and be nice.’” But he’s enthusiastic about this chapter in his story.

“It’s pretty sweet, pretty fun,” he says. “I’ve been away from home for a very long time, and that can have its effects on your happiness. So I’m back in London now, and I’m very happy to be back and see all my people and still work. I hope that I can keep it up. That’s the game of acting, you just never know. There is a momentum that exists.”