What do directors Francis Ford Coppola and Todd Phillips have in common? Well, mainly, two things: that both the dystopian ‘Megalopolis’ and ‘Joker: Folie à Deux’ were two of the most anticipated films of 2024 and that both are being a critical and box office failure.
In the case of ‘Megalopolis’, we must remember that it cost 120 million dollars and that the director of the ‘Godfather’ trilogy has self-financed the film thanks to the sale of part of his successful winery. However, in our review of ‘Megalopolis’ we are more benevolent and point out with its three stars that we are facing “an excessive work in every sense, a film that is overflowing, washed out, accelerated and shamelessly in love with itself.”
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For its part, the new installment about the clown prince of crime by Todd Phillips starring Joaquin Phoenix and Lady Gaga is garnering mixed reviews and a box office well below expectations. In Fotogramas’ review of ‘Joker: Folie à Deux’ we rated it with 5 stars, ensuring that it is a “dazzling musical” and a “glorious” sequel, while our colleague Ricardo Rosado points out the 4 mistakes of ‘Joker : Folie à Deux’ which makes it the most disappointing film of 2024.
Therefore, 2024 is being a complicated year for the director who made history with some of the best films in the history of cinema, as demonstrated by ‘Apocalypse Now’ and ‘The Conversation’ and for the man behind ‘Joker’, a of the best superhero movies in the history of cinema. And what has good old Coppola done? Well, support your colleague Todd Phillips on your social networks.
In this way, the director has written on his Instagram account: “Todd Phillips’ films always surprise me and I enjoy them to the fullest. Since the wonderful ‘The Hangover’ he is always one step ahead of the audience without ever doing what they expect from him. Congratulations to ‘Joker: Folie à Deux'”.
Perhaps precisely suggesting that moviegoers and fans of the DC character are not prepared for a film like this, condemning the ability to innovate and avoiding that blatant sequel-trace formula that we have witnessed so many times.
Warner Bros.
Will it become one of those great films that were underrated in their time like ‘Blade Runner’, ‘The Shining’ or ‘Trap in Time’? Maybe it will end up being one of the best musicals in film history in the vein of classics like ‘Grease’, ‘Singin’ in the Rain’ or ‘La La Land’? Only time will tell.
All about Francis Ford Coppola
Jorge is an expert in movies, series and comics. His favorite genres are horror and science fiction, the perfect balance between the thunderous scream of the slasher and the disturbing silence of space and, although he flirts with auteur cinema in search of that hidden gem far from the mainstream, he does not hide, His thing is commercial cinema from Marvel, Star Wars, DC and Pixar.
This restless journalist discovered the mysticism of ‘Twin Peaks’ a few years ago and, since then, it has been just another concept trapped inside David Lynch’s head. When he manages to escape from the Black Lodge, he revisits the filmography of the master Carpenter, loses himself again between the pages of Moore and Gibbons’ ‘Watchmen’ or sets out in search of new emotions in miniseries format.
After his brief stint in media such as TVE, RNE and the TV and communication section of La Razón, Jorge has spent more than a decade in the delirious world of advertising agencies, where he has had the opportunity to be part of various communication teams. which have allowed him to participate in soirees, events, junkets and various efforts with performers of the stature of Antonio de la Torre, Jared Harris, Kim Dickens, Colman Domingo and Christina Hendricks. He arrived at FOTOGRAMAS in 2022, where he managed to carve out a niche as an editor to write about the most popular series, the best Alfred Hitchcock films or everything related to franchises, reboots, prequels, sequels, sequels and various nonsense of the moment, returning from This forms his passion for journalism and cinema.
Jorge has a degree in journalism from the Complutense University of Madrid, in addition to being a director from the RTVE Institute, where he acquired notions of pre-production, production and post-production of audiovisuals.
