It's with some reluctance that I have to say this, but honesty requires me to express my feelings. Francis Ford Coppola’s much-anticipated film, an epic cinematic fable, is unfortunately a considerable letdown. Following years of starts and stops in its development, the filmmaker’s metaphorical work about a celebrated, idealistic architect (Adam Driver) attempting to construct a grand utopian project in a contemporary version of New York inspired by ancient Rome traces his frequently thwarted attempts to get it going—a situation not unlike the film's own troubled production history. The movie touches on several important and thoughtful topics concerning the impact of greed, corruption, political maneuvering, and self-serving intentions on public good, as well as the necessity of fostering creative freedom. It also considers the role of affection and encouragement in achieving success. However, these ideas are significantly weakened by an excessive amount of unnecessary plot elements and a focus on style over substance. While it's true that "Megalopolis" is visually striking thanks to its inventive and impressive cinematography and production design, these aspects become so overwhelming that they completely bury any sense of clarity or understanding in the narrative. It’s true that some degree of lucidity begins to surface as the film progresses, but by then, it's hard to imagine anyone truly invested in what eventually occurs. There are also noticeable parallels between this movie's storyline and the screen adaptation of Ayn Rand’s popular novel “The Fountainhead” (1949), which brings into question the originality of this work. Considering that this might be Coppola’s last film, it is regrettable to see him conclude his career with such a disappointing and lackluster result, and some critics (myself among them) have strived to avoid being overly harsh, perhaps giving more favorable scores than would normally be warranted. Nevertheless, it seems clear that this allegorical project proved too much for the filmmaker to handle, and that’s evident in the final product—a real letdown from a director known for classics such as “The Godfather” (1972) and “Apocalypse Now” (1979). If you are set on seeing it, given the impressive visuals, this is probably best experienced in theaters, but don’t be surprised if you leave feeling disappointed.

Source on TMDB