Autistic college graduate who's fixated on film, specializes in the classics, dramas of all kinds, and Oscars history
The Big Picture Francis Ford Coppola is someone who's interested in no less than the rapturous experience that life can be, in both its very highs and its lows. He seeks to capture the undercurrents of tragedy and bliss that can exist in the mundanity of everyday life, treasuring those moments where his characters can ascend beyond their mortal coils. In that dramatic vein, there's not a storytelling concept more fitting to achieve that ascension than time travel.
Related We Have a Kids Library Class To Thank for Francis Ford Coppola’s ‘The Outsiders’ It takes guts to write a letter to a cinematic legend. This was probably a bad idea, as Coppola had no experience with heavy duty special effects, and relied on Lucas' guidance constantly. Frankly, it shows, as the film winds up feeling like one of the many Star Wars knock-offs people endured throughout the 1980s, and has little trace of Coppola's sense of filmmaking or savory camerawork.
Vampire fiction has always thrived on the bubbling desires bursting out from under the strictures of social norms, and Coppola's truly operatic treatment of the sacred text of vampire lore thrives on it using tastefully considerate techniques for utterly tasteless indulgences. Blood showers people in waterfalls, vampire women wear garish gowns straight out of kabuki theater, Dracula's shadow defies gravity, and Keanu Reeves' accent and gray wig defy common sense.
These are all such heady concepts that feel like they could be perfect for a Matrix sequel, and yet Coppola has no idea where to take any of these ideas, instead mish-mashing jargon and concepts together until they feel like word soup. Worse yet is how all the acting is so distant and the dialogue is so ramblingly self-absorbed that it makes every exchange feel like monologues being talked through each other, with no feel for chemistry or personal stakes.
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