Friday, June 21, 2024

Apocalypse, Now: Francis Ford Coppola’s “Megalopolis” Down to 48% Among Critics — And that Number is Inflated by Admirers

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Yes, it’s a “Mega-flop-olis.”

The Apocalypse is here, now, for Francis Ford Coppola’s “Megalopolis.”

The more critics file reviews from Cannes to Rotten Tomatoes, the worse it gets. The film currently sits a rotten 48%. But even that number is inflated by critics who hated the movie but don’t want to label it “rotten” out of respect for Coppola.

A couple of examples:

Financial Times: Perhaps the kindest thing one can say about Megalopolis is that it will probably remain largely unwatched and be quickly forgotten.

The Daily Beast: Perhaps the kindest thing one can say about Megalopolis is that it will probably remain largely unwatched and be quickly forgotten.

“Megalopolis” has quickly reached the status of past disasters like “Heaven’s Gate” and “Ishtar” as one of the worst films ever made by a respected director. Priced at $120 million, the film would have to make a minimum of $240 million to break even in theaters. Considering the box office in 2024, that goal would seem impossible by miles.

Who will buy it? Anyone? There’s a lot of speculation that A24 could take it. They made gold out of another totally incomprehensible movie, “Everything Everywhere All at Once.” That title might be applied to this movie, from the reviews.

Roger Friedman
Roger Friedmanhttps://www.showbiz411.com
Roger Friedman began his Showbiz411 column in April 2009 after 10 years with Fox News, where he created the Fox411 column. His movie reviews are carried by Rotten Tomatoes, and he is a member of both the movie and TV branches of the Critics Choice Awards. His articles have appeared in dozens of publications over the years including New York Magazine, where he wrote the Intelligencer column in the mid 90s and covered the OJ Simpson trial, and Fox News (when it wasn't so crazy) where he covered Michael Jackson. He is also the writer and co-producer of "Only the Strong Survive," a selection of the Cannes, Sundance, and Telluride Film festivals, directed by DA Pennebaker and Chris Hegedus.

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