GOOD COPPOLA, BAD COPPOLA

Opening this weekend:

Megalopolis--The buzz on this long-cherished, finally realized project by Francis Ford Coppola is that people either love it or hate. But you may find that duality stifling. I kind of hated this movie, and I also kind of loved it.

It's an epic with sci-fi, fantasy and surreal elements, set in a city called "New Rome." New Rome looks exactly like New York, if New York was shot in exquisitely burnished metallic tones by the Romanian cinematographer Mihai Malaimare Jr., and if the men wore '90s-George Clooney haircuts. Against this backdrop, Coppola develops a story that very loosely parallels the Cataline Conspiracy of 63 B.C., as chronicled by Sallust.

Cesar Catalina (Adam Driver) still wants to take over Rome, but in this version he's a visionary architect and urban planner who wishes to create a new utopian downtown full of futuristic, even surreal amenities, made possible by a building material called Megalon. His rival Mayor Cicero (Giancarlo Esposito) has, one might say, more modest ambitions for his town.

Trouble brews when Cicero's beautiful daughter Julia (Nathalie Emmanuel) goes to work for Cesar, and despite a dark secret involving Cesar's late first wife, he and Julia begin to fall in love. Into this basic conflict, rafts of supporting players and subplots and sub-subplots and digressions are interwoven, on the whole pretty chaotically.

The movie opens with a breath-quickening sequence in which Cesar stands on the ledge of the New Rome version of the Chrysler Building, leaning out, tempting gravity and stopping and starting time with the power of his will. The movie that follows seems to be Coppola trying to do the same with his art, and struggling with the awareness that time can't be suspended indefinitely.

It's potent start, but after that Megalopolis splutters and flails for quite a while, with short, scattered, over-edited scenes that fail to draw us in, or sometimes even to communicate what's happening and who's who in relation to who. A half-hour or so in, I was starting to squirm, thinking this could be a really punishing disaster. Very gradually, however, a story begins to take shape that we can invest in.

The intent seems to be satirical, but Coppola's tone comes across as too earnest, even naive, for any real bite. The writer-producer-director sees our society as in decline, and he wants to have "A GREAT DEBATE ABOUT THE FUTURE." This seems like a worthy goal; our current debates about the future seem pretty lacking in greatness, with one side regarding the future as a place where Jesus will come back and then all the elitists will be sorry, and the other side regarding the future as a place where maybe we'll get people's pronouns right.

Coppola certainly has broader, more robust, more soulful hopes for the future than these. But his utopian ideals are unspecific, beyond a sort of technocratic optimism. Cesar's "Megalon" (no relation, apparently, to Godzilla's old rival) is a conveniently vague plot device, and much of what Coppola shows us as evidence of our decline are lots of nubile young women partying too hard.

All this and more undoubtedly makes Megalopolis seem dubious, even campy. It's the kind of grand, glittering cinematic folly that we rarely see any more, because perhaps regrettably we don't have as many auteurs with the same level of delusional hubris as we did half a century ago. Yet it's hard to shake the sense that, at bottom, Coppola is right about contemporary society; that it is time for us to pull our collective heads out of our asses. And his sense of spectacle can get to you. His style here recalls everything from Orson Welles to Abel Gance to Koyaanisqatsi to Things to Come, and after he settles down, his movie begins to get exhilarating.

In no small part, undoubtedly, this is due to the uncommonly glamorous and vibrant cast. The roles are grievously underwritten--Dustin Hoffman in particular makes a fine, energetically weaselly entrance, but then his part seems unceremoniously truncated. But these actors inhabit their pageant figure roles and flesh them out with their own personalities.

Driver is excellent, again showing his ability to be eccentric and vulnerable while retaining the commanding presence of a leading man, and Esposito's pensive, wary eyes make a perfect, puny-spirited contrast to Driver's virility. Emmanuel is able to keep Julia from becoming too much of an idealized love object despite Coppola's gauzy presentation of her.

Shia LaBeouf has a juicy turn as Cesar's cousin and enemy Clodio, and Laurence Fishburne is a reassuring presence as Cesar's chauffeur, who also serves as the movie's Greek Chorus narrator. As Cesar's rich uncle Crassus, Jon Voight, despite his real-life political leanings, gives what seems like a gleeful parody of a certain recent president from the Big Apple, and it's fun to see veterans like Balthazar Getty, James Remar, Jason Schwartman, D.B. Sweeney and even Talia Shire among the supporting players.

It's possible that the strongest performance in the movie, however, is that of Aubrey Plaza, in the role of Wow Platinum, a TV financial reporter who has snaked her way into the lives of both Cesar and Crassus. Plaza isn't subtle as the lewd, scheming Wow, and from the beginning the character refuses to get buried by Coppola's grandiose conceptions. Every time she gets up to some juicy mischief, the audience comes happily to life.

BOT WAIT THERE'S MORE

Opening in the multiplexes this weekend:

Transformers One--The Hasbro toy line debuted in 1984, when I was in college; I knew the Transformers only slightly, through my nephews. As with the Teenage Mutant Ninja Turtles or the Power Rangers or Pokemon, I never had a personal sentimental attachment to them.

For the uninitiated: The Transformers are elegant anthropomorphic robots capable of folding themselves up into vehicles: a truck, a car, a tank, a drone. Or, are they sleek vehicles that can unfold themselves into robots? It's all rather Zen, but it was also brilliant toy marketing, taking kids beyond the childhood power fantasy of having a truck or a tank to being a truck or a tank.

Along with the toys, the franchise has spawned comics, cartoons, novels and several previous feature films, some animated, some live action. I haven't seen them all, but the couple I did were overstuffed and silly, though they also offered some gorgeous imagery.

This new animated feature is an origin story for the two central figures in the Transformer pantheon, Optimus Prime, leader of the good-guy Transformers, and Megatron, leader of the bad-guy Transformers, or Decepticons. It follows the pair, then called Orion Pax and D-16, as young mining robots, without transforming powers, on their home planet of Cybertron.

Pax is forever snooping around old archives, looking for clues to the whereabouts of some McGuffin that will give him and his overworked comrades equality. D-16 resents his oppression at least as much as Pax does, but he's less of a daring, chance-taking sort. Eventually they end up, along with a couple of other allies, on an adventure on the planet's bleak and mercurial surface.  

I couldn't always follow all this, not just because I was unfamiliar with the references but because the movie, directed by Josh Cooley from a script by several hands, is presented in the Michael Bay manner, with scenes so rapidly cut that you sometimes have to take the dialogue's word for what's happening onscreen. That said, it's a great-looking movie, not quite as beautiful as the recent Ultraman: Rising, but close. Along with the strangely passive harlequin faces of the robots, there are lovely planetscapes and herds of cybertronic deer and vehicles that generate their own roadways and tracks before them as they sail along and other magical sci-fi flourishes.

It has a voice cast of stars, too; along with Chris Hemsworth and Brian Tyree Henry in the leads we also hear from Scarlett Johansson, Keegan-Michael Key, Jon Hamm, Steve Buscemi and Laurence Fishburne. And somewhere amidst the fan service, along with a hard-to-miss Christ allegory, the plot probably carries a pretty nuanced and complex parable of radicalization and the manipulation of media.

ASS THE WORLD TURNS

Opening Friday in Scottsdale:

My Old Ass--18-year-old Elliot lives on an idyllic Canadian cranberry farm, but can't wait to head to college and start her life. She confesses her feelings, successfully, to her summer-long crush, and then she and her friends camp out on an island and take 'shrooms.

Under this fungal influence, Elliot, played by Maisy Stella, finds herself sitting next to the Old Ass of the title, her 39-year-old self, played by Aubrey Plaza. Younger Elliot is eager to hear dish and glamour about her future, but Older Elliot is cagey; she just advises her to avoid anybody named Chad. Soon after, Younger Elliot meets a nice young man while swimming. Guess what his name is.

The wish to go back and offer guidance and comfort to your younger self is a human perennial, perfectly expressed in the Faces anthem "Ooh La La." My Old Ass, written and directed by Megan Park, works the premise ingeniously by taking it, one might say, ass-backwards. Thus we see the story from the younger heroine's point of view; that is, from the version of her who, being young, knows everything and is unlikely to consciously accept an older person's counsel. Yet we also see Older Elliot's healthy influence on her behavior.

Stella carries the movie sweetly as Younger Elliot, with a suggestion that she's trying to present as more daring and sardonic and above-it-all than she really is. Her supposed mortification at her provincial circumstances is a less than convincing pose. In the much smaller role of Older Elliot, Plaza's guarded, pained manner complements Stella's performance amusingly, and credibly.

Percy Hynes White, as the amiable Chad, is the other standout of the small cast. The settings--the film was shot in Muskoka Lakes, Ontario--are breathtaking, and the movie glides very agreeably through its brief running time. There's one sequence, involving a Justin Bieber song, that's truly hilarious, but otherwise My Old Ass feels, really, a little mild and undemanding.

This, paradoxically, may be what's most striking about it. Elliot identifies as gay, you see; the crush with whom she makes out early on is a (slightly) older woman. Park doesn't make a big deal about this, and she's almost equally nonchalant when Elliot finds herself attracted to Chad and begins to question her long-held assumptions about her own sexuality.

In the real world, of course, and in this day and age, this probably really does reflect normal teen development. But I couldn't help thinking about the tizzy that this would have stirred up from a teen flick even ten years ago, much less twenty. Like 2018's Love Simon, the sunny, breezy My Old Ass may be most remarkable for how unremarkable it is.

HAUNT GENERATOR

Opening this weekend:

Beetlejuice Beetlejuice--To the list of Gen X-era movie favorites getting very belated sequels, the sweetly macabre 1988 comedy Beetlejuice may now be added. You may remember the title character (spelled, outside of the title, like the red giant star in Orion) is a manic ghost who specialized in exorcizing the unwelcome living from haunted houses. Like Clive Barker's Candyman, he could be conjured into the world of the quick by speaking his name aloud three consecutive times, after which he would wreak havoc.

It's one of the signature roles of the great Michael Keaton; probably his greatest comedic triumph. The film also featured a breakthrough performance by Winona Ryder as the endearing, self-consciously "goth" heroine Lydia, and was a showcase for the visual and comic style of director Tim Burton. It's unquestionably a classic of '80s popular cinema, and it gave rise to a TV cartoon, video games, comics, a long-running stage show at Universal Studios theme parks, and eventually a Broadway musical that put Representative Lauren Boebert into an uncommonly good mood.

None of which necessarily means, of course, that a sequel was required. But one has been made, directed by Burton, starring Keaton, Ryder, and Catherine O'Hara, and scored by Danny Elfman. It has, in short, the stamp of authenticity, and this many years later it's a bit surprising that the original makers have managed to infuse, if anything, even more craziness into it.

Ryder's Lydia, now widowed, is still able to see ghosts, including the occasional startling glimpse of her old nemesis. She's the host of a paranormal TV show produced by her intolerable boyfriend (Justin Theroux). Relations between Lydia and her teenage daughter Astrid (Jenny Ortega) are tense, but circumstances bring the two of them and Lydia's stepmother Delia (O'Hara) back to the old house in picturesque small-town Connecticut. Before long, the boundary between our world and the Kafkaesque, DMV-style bureaucratic afterlife has been breached, and the title ghoul is trying to insinuate himself back into the picture.

What ensues, strung along a script by Alfred Gough and Miles Millar from a story by Seth Grahame-Smith, are more of Burton's elaborate yet non-sequitur slapstick set pieces. The gross-out content is slightly higher here than back in 1988, but it works. The original, you'll recall, had a fixation with Harry Belafonte songs from which its most memorable sequences arose; the new movie is likewise enriched by similarly out-of-nowhere musical interests, even more grandly staged. There are sequence here that achieve true, weapons-grade silliness.

Ortega is touching, and there are other effective new additions to the cast, like Willem Dafoe as an afterlife cop--he was a movie cop in this life--with an exposed brain, or Arthur Conti, excellent as a local kid who charms Astrid. Best of all is Monica Belluci, formidable as the enraged ghost of the leader of a "soul-sucking death cult" who has an unhappy history with our titular hero. The scene in which she pulls herself together with the help of a staple gun is a Burton classic.

Keaton, though used somewhat sparingly, slips easily back into his role, tossing off asides in his muttering natter (or nattering mutter?) with the same moldered aplomb, and moving with the same light-footed exuberance, with which he conducted himself three decades ago. Ryder is also perfectly convincing as the middle-aged version of Lydia; tinged with a hint of emotional desperation in her interactions with Astrid.

I know it sounds ridiculous, and maybe I'm just projecting, but I thought that Ryder, O'Hara and even Keaton brought a subdued, rueful undercurrent to their performances, as if stirred-up memories of the first film's events had awakened genuine emotional pain. Don't misunderstand; if it's there, it's done without the slightest heavy-handed intentionality; it may not even have been conscious on the part of the actors. But it deepens both this film and the original.