Giggles abounded at the Cannes premiere of Francis Ford Coppola’s latest, which lived up its buzz as an absolute trainwreck. Yet it’s so silly it may be destined for cult status.
, the screen went black and someone ascended the stage in front of it. For a moment, you could feel the entire theater on edge as if something had gone desperately wrong. Maybe there was a technical issue? Maybe we would need to evacuate? Instead, the person took out a mic and “played” the role of a reporter asking questions of’s character at a press conference following a major disaster.
. This is the kind of movie that will live on in midnight screenings. The phrase “destined to be a cult classic” gets thrown around a lot these days and mostly inaccurately—something that is weird but popular and critically acclaimed does not a “cult classic” make—and yet it seems to actually apply here.is stilted, earnest, over the top, CGI ridden, and utterly a mess.
All the performances are pitched at different levels. Driver, per usual, is taking his job very seriously, playing Cesar with haunted gravitas even when he’s convulsing in a drug induced hallucination sequence. Emmanuel is all sweetness, the words from the script landing with a thud coming out of her mouth. If anyone is having fun it’s Aubrey Plaza, an, a true camp classic, who leans into the ridiculousness of playing a nasty gold digger who says things like, “Listen, bitch.
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