Cannes film festival
Francis Ford Coppola’s question – can the US empire last forever? – may be valid but flashes of humour cannot rescue this conspiracy thriller from awful acting and dull effects
Everyone who loves cinema owes Francis Ford Coppola a very great deal … including honesty. His ambitious and earnestly intended new film, resoundingly dedicated to his late wife Eleanor, has some flashes of humour and verve. Jon Voight’s scene with his bow-and-arrow shoots a witty dart. The film’s heavily furnished art deco theatricality sometimes creates an interestingly self-aware spectacle, like an old-fashioned modern dress production of Shakespeare. And certainly a Coppola failure is a whole lot more interesting than the functional successes of lesser directors – the middleweights who aim low and just about hit the target’s bottom rim.
But for me this is a passion project without passion: a bloated, boring and bafflingly shallow film, full of high-school-valedictorian verities about humanity’s future. It’s simultaneously hyperactive and lifeless, lumbered with some terrible acting and uninteresting, inexpensive-looking VFX work which achieves neither the texture of analogue reality nor a fully radical, digital reinvention of existence. Yet this sci-fi conspiracy drama-thriller, avowedly inspired by the Catiline plotters of ancient Rome, does ask a valid question. The US empire, like the Roman empire, like any empire, can’t last for ever. Has America’s decline-and-fall moment arrived?
