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Megalopolis (2024) – Movie Review

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Megalopolis (2024) – Movie Review

Megalopolis, 2024.

Written and Directed by Francis Ford Coppola.
Starring Adam Driver, Nathalie Emmanuel, Giancarlo Esposito, Aubrey Plaza, Shia LaBeouf, Jon Voight, Jason Schwartzman, Talia Shire, Grace VanderWaal, Laurence Fishburne, Kathryn Hunter, Dustin Hoffman, James Remar, Chloe Fineman, Isabelle Kusman, D.B. Sweeney, Haley Sims, Balthazar Getty, Bailey Ives, Adams Bellouis, Madeleine Gardella, and Romy Mars.

SYNOPSIS:

The city of New Rome is the main conflict between Cesar Catilina, a brilliant artist in favor of a utopian future, and the greedy mayor Franklyn Cicero. Between them is Julia Cicero, her loyalty divided between her father and her beloved.

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Somewhere buried underneath the bluntly narrated New Rome parallels to America’s current downward spiral, the family scheming, betrayals, sociopolitical commentary, endless philosophical musings quoting other famous works and speeches that never quite stick or mean much, sci-fi concepts such as a biological building material dubbed Megalon, the earnest desire to build a promising future and preserve crucial aspects of the present and past, and an ensemble where everyone seems to think they are in a new movie from scene to scene, is a good film within legendary writer/director Francis Ford Coppola’s decades-in-development-hell passion project Megalopolis.

These haphazard elements come together for a final scene that is sincerely moving. The preceding 2 hours and 10 minutes is an onslaught of ideas presented and ambitious set pieces (ranging from living, breathing, suffering statues to extravagant Roman-inspired weddings with modern twists such as wrestling matches replacing gladiatorial combat to futuristic envisionings of a better world) carrying an impressive, transfixing visual language (courtesy of cinematography from previous Francis Ford Coppola collaborator Mihai Malaimare Jr) that ensures even if viewers are flabbergasted at how disjointed and unwieldy the narrative is, it is undeniably hypnotic and striking to absorb.

The question then becomes, does that mean anything if the film is ambitious to a crippling fault and a structural disaster? An early scene sees New Rome Chairman of the Design Authority/architect Cesar Catalina (Adam Driver, who is either miraculously on Francis Ford Coppola’s wavelength or so locked into his distinct take on the character that, if nothing else, it’s a memorable performance for right and wrong reasons) stopping time during the demolition of a building. The reason doesn’t matter, but at times, Megalopolis is similarly catastrophically crumbling (under the weight of its gigantic audacity) that one wishes they too could say “time… stop!”, take a breather, and digest what’s happening for a moment.

By the way, yes, Cesar can stop time. However, it’s an ability that plays more into characterization than anything plot-specific, which might be why it’s one of the few and far between elements that work here. Not only is he a man who can stop time, but he is also paranoid that there isn’t enough time to accomplish his ambitious dream of building a futuristic utopia called Megalopolis. There is also something about the idea of someone who can stop time yet still feels as if they don’t have enough, which is trippy and compelling.

Cesar is opposed by the polarizing Mayor Cicero (Giancarlo Esposito), who is less concerned about the future and more interested in doing something about the present. Yet, he mostly appears to be selling the usual political lies to keep up public trust. However, that support is gradually fading and soon transitions into full-blown riots (with other factors coming into play.) As such, he is determined to do whatever he can to put up a roadblock for Cesar, even if it means slandering his public image as possibly having murdered his wife since the body was never recovered. Mayor Cicero’s socialite daughter Julia (Nathalie Emmanuel) attempts to fool Cesar in disguise and gather some intel (one of the film’s most unintentionally hilarious scenes, and one that is inexplicably being used to market the theatrical run), which is easily seen through and gets her belittled in such a manner that, to be a fly on the wall while everyone was working through the performances would have been a treat.

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Nevertheless, romance eventually develops and becomes the film’s heart, and it probably should have been a more significant focus. Instead, Megalopolis is caught up in backstabbing wealthy relatives of Cesar, including a billionaire bank owner played by Jon Voight (he looks seriously confused and not in a funny way, but the concerning late-career Bruce Willis way where there turned out to be a neurological diagnosis in play), a power-hungry cousin (Shia LaBeouf) willing to doublecross anyone, and Cesar’s former mistress and gossip-obsessed newscaster Platinum Wow (Aubrey Plaza delivering the most consistent performance, and a fittingly crudely nutty one at that even if the character comes across as a misguided, uneasy helping of rampant misogyny from the film’s controversial filmmaker.)

The in-house scheming and drama between them take away from a relatively moving romantic subplot between Cesar and Julia, even if there still isn’t any real character development happening. It more comes down to a feeling radiating from the screen. Considering that aspects of Cesar’s egotistical personality and humiliating slander are on full display, it also doesn’t feel out of the realm of possibility that Francis Ford Coppola is throwing up a version of himself on screen (a theory more credible considering the ending credits dedicate the film to his deceased wife). Francis Ford Coppola’s call to action to build a better world with updated principles is admirable and even something some people need to hear, but one wishes that he constructed a better movie out of it than Megalopolis.

Flickering Myth Rating – Film: ★ ★ / Movie: ★ ★

Robert Kojder is a member of the Chicago Film Critics Association and the Critics Choice Association. He is also the Flickering Myth Reviews Editor. Check here for new reviews, follow my Twitter or Letterboxd, or email me at MetalGearSolid719@gmail.com

https://www.youtube.com/watch?v=embed/playlist

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Ulajh Movie: Starts Well, but Drops off Quickly

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Ulajh Movie: Starts Well, but Drops off Quickly

Janhvi Kapoor’s latest spy thriller, Ulajh, is now streaming on Netflix. Ulajh features a decent cast with names like Roshan Mathew, Gulshan Devaiah, and Adil Hussain.

The film starts off intriguingly, with Janhvi Kapoor playing a high-ranking government official who gets caught in a sexual blackmail scheme involving video recordings. The plot revolves around how anti-national elements use this to manipulate her for their gain against India.

However, it doesn’t take long for the film to lose momentum. As the story progresses, the silliness increases, and by the climax, all the initial promise is lost, largely due to the poor writing and the lack of logic in the narrative.

Janhvi’s role feels extremely dull, which adds to the lackluster storytelling, especially for a spy thriller like Ulajh.

For viewers who don’t mind weak content on OTT platforms but enjoy the spy thriller genre, Ulajh might still be worth a try for its cast—if you have no other options for a home watch.

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Caitlin Cronenberg’s ‘HUMANE’ (2024) – Movie Review – PopHorror

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Caitlin Cronenberg’s ‘HUMANE’ (2024) – Movie Review – PopHorror
Horror is often at its best when it can move outside the world of basic tropes and jump scares and examine the most frightening traits of real people. When the genre puts seemingly normal humans in dark circumstances and lets their evil protrude, that shows truly terrifying results. Such is the case in Humane, the directorial debut from Caitlin Cronenberg. Caitlin is the daughter of horror legend David Cronenberg (The Fly 1986, read our retro review here) and the sister of the emerging Brandon Cronenberg (Infinity Pool 2023). She was previously known for still photography, but let’s see how her opening salvo in the director’s chair went.

Humane was written by Michael Sparaga (United We Fan 2018) and stars Jay Baruchel (Random Acts of Violence 2019) Emily Hampshire (Mom 2024) and Peter Gallagher (American Beauty 1999). The story follows the upper crust York family in a dystopian world, where the government requires volunteers to be killed to control the population. Those that volunteer have their families rewarded with tons of money upon their death. The heads of the York family gather their children to tell them the news, and all hell breaks loose.

Only one of the Yorks sticks to the death pact, so the government must collect a second body. Trapped in the desolate mansion, the family must now either work together or fall apart, as secrets and tension mount.

Humane hits a home run in terms of the chemistry and clear delineation of its characters. Every member of the York family has a rocky history, clear motivation, and can be seen for who they are, very quickly. The brother and sister dynamic and family toxicity feels real and is worn on each of their faces. This dialogue-heavy success is well paced, and leads to some genuinely funny dark comedy, without ever killing the tension that it builds.

Humane also uses its rooms to isolate the characters and peel back the curtain on their relationships. Cronenberg clearly thrives in the chaotic world she builds, just like her father. But unlike David’s body-horror, Caitlin weaves societal statements into her work. Themes of classism, racism, governmental divide, and greed are woven expertly into this game of survival. With all of the subtext it provides, it would feel dystopian not to have this movie in the upper crust of your horror lists by year’s end.

Humane is currently streaming on Shudder.

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Sathyam Sundaram Movie Review – Gulte

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Sathyam Sundaram Movie Review – Gulte

3/5


2 hrs 57 mins   |   Slice-of-life   |   28-9-2024


Cast – Arvind Swamy, Karthi, Sri Divya, Devadarshini, Jayaprakash and others

Director – C Premkumar

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Producer – Jyothika, Surya

Banner – 2D Entertainment

Music – Govind Vasantha

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96-fame director C Prem Kumar returns to the director’s chair after nearly five years to helm Sathyam Sundaram, a slice-of-life film on relationships and nostalgia. The film stars Aravind Swamy and Karthi in lead roles, who play the titular characters of Sathyam and Sundaram respectively. Sathyam and Sundaram is originally titled Meiyazhagan in Tamil. While the Tamil film is set in Thanjavur and Chennai, the Telugu film’s locations have been changed to Guntur and Vizag respectively. Sathyam Sundaram is produced by Jyothika and Suriya, who have previously backed critically acclaimed films like Soorarai Pottru (Aakasame Nee Haddura in Telugu) and Jai Bhim.

What is it about?

Sathyam (Aravind Swamy) and his family lose their beloved ancestral house in Guntur due to a property litigation in 1996, following which they tearfully leave the town and move to Chennai. 22 years later, Sathyam makes a trip back to Guntur to attend his sister’s wedding. What happens when Sathyam bumps into an overly friendly childhood acquaintance in the village (Sundaram) forms the crux of the story.

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Performances

Karthi is the heart and soul of the film and he is the reason why everyone connects with the story. He also elicits the most laughs out of the audience. Aravind Swamy plays an introverted character with a lot of trauma. His screen presence fades a bit when he is with Karthi, but nevertheless, he delivers a strong performance.

Sri Divya and Devadarshini play the wives of these main characters. Despite their limited screentime, they are both endearing and memorable. Rajkiran, as Sathyam’s uncle Sukumar, is extremely relatable and effective, reminding a lot of us of our uncles.

Technicalities

The film has extremely emotional and soul stirring music by Govind Vasantha. The intent and meaning of the original Tamil lyrics of the songs have also been translated competently by Rakendu Mouli.

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The film’s original location Thanjavur, with its ancient temples, plays a major role in determining the film’s overall production values. Though the makers of the film have changed the location in the Telugu version to Guntur, it is hard to miss the effect of Thanjavur in the film.

In addition to the friendship between Sathyam and Sundaram, the film also emphasises the relationship these actors share with animals of all kinds, ranging from cats, parrots to bulls and snakes. It adds a wholesome and heartwarming flair to the overall narrative.

The cinematography, by Mahendiran Jayaraju, plays a huge role in conveying the film’s soothing-yet-hard hitting themes. The result makes the film look both real and cinematically beautiful at the same time.

Thumbs up

Karthi & Aravind Swamy
90s nostalgia
Writing
Worldbuilding
Music

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Thumbs down

Runtime
Slow paced narrative

Analysis

Sathyam Sundaram is a beautiful trip down the memory lane. Much like the director’s previous film 96 (and its Telugu remake Jaanu), a majority of the film takes place in the space of one night with just two characters.

Movies that take place entirely within the span of a single night fit well in the thriller genre, but clearly, 96 and Sathyam Sundaram are exceptions to this rule. Each dialogue, scene, sub-plot and arc in the film leaves a person with a smile and a good feeling in their hearts.

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The film slowly but steadily wins the heart of everyone with its sincere emotions. A couple of scenes in particular, have the potential of making the audience tear up, due to their highly effective and relatable emotionality.

The makers have taken good care to ensure that it appeals well to Telugu audience, with attention to detail given to the dialogues, comedy and lyrics. This film will particularly impress 90s kids, with its bicycle sub-plot, flashback portions in the village and the actors humming iconic 90s songs like Singarala.

The film could have been much easier to enjoy though, had it been 30-40 minutes shorter (the runtime is 177 minutes long). The film’s makers could have also gone for a different title since it gives a spoiler to one of the film’s biggest mysteries. All in all, Sathyam Sundaram is a positive step in the direction of good, soulful cinema. However, those who do not enjoy slice-of-life emotional dramas or three-hour long films must definitely think twice before watching Sathyam Sundaram.

Verdict: Emotional Journey Of Pure Hearts

Rating: 3/5

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