… are visually appealing
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IsraHell — 10 months ago(May 27, 2025 08:58 PM)
Depends on the age. I've been skinny. I've been a chubby kid. Been kind of upa and down in weight all my life. Started as a skinny kid. Got chunky in 4th grade. Lost some weight in 5th through 7th. Gained aome in 8th. Lost weight again at 14, but quickly gained it back. Then lost a lot starting from almost 16. I was really in shape in my late teens.
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sewfae¡ speshul — 10 months ago(May 27, 2025 08:55 PM)
yes here is my review:
Megalopolis 2024 Directed by Francis Ford Coppola
Review by
sofi ★★★
Watched 15 Nov 2024
now that the dust has settled, i finally felt ready to watch one of this year's most talked about and divisive movies and see for myself bc all the negative things people said about it put me off hard.
and well yes, the film is a gigantic bizarre mess for sure, but it's a beautiful and fascinating mess. i think to enjoy it you have to get past its Ayn Rand-inspired narrative. this does play like the descendent of The Fountainhead and Atlas Shrugged, and in the era of Elon Musk this crap just feels cringe af and you don't sense Coppola is questioning his narrative at all, either.
from what i gathered (correct me if i'm wrong), Adam Driver stars as a visionary inventor who has invented the magical material megalon (wait wasn't this the name of a Godzilla villain?). he is opposed by the mayor of New Rome (Giancarlo Esposito) and others (including his ex-lover, played by the fantastic Aubrey Plaza, and jealous cousin Shia LaBeouf), but Esposito's daughter (Nathalie Emmanuel) is convinced of his vision for the future and falls in love with him.
lol but none of that is really worth caring about, and you have to do a lot of mental gymnastics to even follow the story anyway. where the film soars is in its filmmaking and the psychedelic visuals. the film is constantly worth wondering at, even if it doesn't have much in its actual brain. many will hate it, but this is definitely going to be a cult favourite.
some bits from imdb's trivia:
Francis Ford Coppola financed the entire $120 million film out of his own pocket. He had done the same with Apocalypse Now (1979) and One from the Heart (1981), and the failure of the latter made him declare bankruptcy. All his subsequent films up to The Rainmaker (1997) were made to pay off his debts.
Laurence Fishburne said Francis Ford Coppola was discussing this film during production on Apocalypse Now (1979). Rob Lowe also recalled him discussing it while filming The Outsiders (1983).
Francis Ford Coppola wrote the script in the early 1980s, but the film was kept on the back-burner partially due to his financial debts. Pre-production finally began in 2001 after filming 30 hours of second unit footage and holding table read with Paul Newman, Uma Thurman, Robert De Niro, James Gandolfini, Nicolas Cage, Leonardo DiCaprio, Russell Crowe, Edie Falco, and Kevin Spacey, but the project was scrapped after the September 11 attacks, because a scene from the script (page 166) "predicted" the attacks. Coppola fully abandoned the project in 2007, and didn't begin developing it again until 2019.
In late '90s when the movie was first announced, Nicolas Cage, who is Francis Ford Coppola's nephew, was attached to play Caesar. Russell Crowe was also considered, as both actors did table reads with Coppola before the project was canceled due to the 9/11 attacks. In 2007, Coppola began developing the movie again with Leonardo DiCaprio attached to play Caesar but Coppola was never able to find a producer. In 2019, Coppola decided to make the movie with his own money and he cast Jude Law, but due to the pandemic the production was delayed. In 2022, Coppola was finally able to start pre-production; at this time the lead role was offered to Christian Bale but he had other obligations. In the end Adam Driver was cast as Caesar.
Francis Ford Coppola reportedly fired most of his visual-effects team in December 2022, according to the Hollywood Reporter. He wanted to use virtual technology similar to that used on The Mandalorian (2019), but the production shifted to more green-screen effects because of mounting costs. Production designer Beth Mickle and supervising art director David Scott then reportedly left the production, leaving the film without an art department. A spokesperson for the Art Directors Guild told THR that it's "currently looking into the situation" to "determine the next steps."