The release of Megalopolis in 2024 has stirred a spectrum of reactions, particularly among visual effects (VFX) artists. This film, a long-cherished project of renowned director Francis Ford Coppola, reflects a vision that has evolved since the late 1970s. However, despite finally achieving cinematic release after decades of development, the journey has been fraught with disputes, particularly surrounding production issues and marketing controversies.
Recently, reports surfaced detailing a troubled filming environment, including allegations against Coppola for inappropriate behavior towards extras. Furthermore, Coppola’s decision to dismiss the entire art department stemmed from creative disagreements, which led to significant challenges in the production process. The situation escalated when promotional materials for Megalopolis included misleading quotes from reviews of Coppola’s previous works, later revealed as fabricated. Critics responded harshly, contributing to a dismal reception reflected in a 45% Tomatometer score on Rotten Tomatoes. Financially, the film has struggled, grossing only $14 million worldwide against a staggering $120 million budget funded personally by Coppola (source: Box Office Mojo).
Critical Assessment of Megalopolis’ CGI
Varying Quality Across Scenes
In their review, the VFX artists from Corridor Crew expressed a sense of ambivalence regarding the CGI in Megalopolis. They acknowledged the troubled backdrop of production as a critical factor influencing the overall visual effects quality, praising certain scenes for their artistic execution, particularly the film’s poetic realism. In contrast, they noted some visual effects, such as the digital transformation of Adam Driver’s character, Cesar Catilina, after sustaining injury, which elicited disbelief.
One standout moment hailed by the review crew is the rainy night sequence where Fundi Romaine (portrayed by Laurence Fishburne) witnesses statues dramatically tumbling onto the street. The Corridor Crew experts detail how this effect was achieved, utilizing actors adorned with plastic prosthetics and filming the sequence in slow motion to bring an elegant sense of movement to the falling statues.
It’s actors in these hard plastic prosthetics who are performing, and all the footage is filmed in slow motion to give them a sense of scale as they fall and move. Now they have some sort of latex suit and their hands are probably painted. And I bet you that everything from here to the chin up is basically all a mask to get the sculpted, statuesque features. This is all in camera, probably on a volume too. This is all in camera.
Analyzing Corridor Crew’s Insights
A Complicated Cinematic Experience
The mixed feedback from Corridor Crew mirrors the polarized critiques surrounding Megalopolis. While certain scenes, particularly the one showcasing the falling statues, resonate strongly with the film’s visual narrative, others seem ineffectively executed, detracting from the overall viewing experience. The disparity in visual effects quality raises questions about the film’s overarching appeal and coherence. In summary, Megalopolis emerges as a cinematic endeavor that captivates and confounds viewers alike.
Sources: Corridor Crew, Rotten Tomatoes, Box Office Mojo
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