By Anne Brodie
Five-time Oscar winning filmmaker Francis Ford Coppola’s Apocalypse Now, The Godfather and more superb films cemented him as a great American filmmaker. But the shine was dulled in 2024 with the limited release of his fantasy epic Megalopolis set in modern-day New York standing in for ancient Rome. It tanked. Sure, his vision was strong, but there you go. He’d invited British filmmaker Mike Figgis to the set make a documentary on the shoot; and Figgis lifted the top off what people generally think filmmaking is – glamourous, fast paced, and artistically explosive. Nuh huh. It’s boring. Figgis’ Megadoc reveals that Coppola spent $120M of his own money to make it – $8M for wardrobe, #3M for hair and makeup, for instance. Coppola’s wife Eleanor, a writer and filmmaker, reminded us that he’d been working on the idea for forty years, that he doesn’t like prep, prefers in-the-moment, organic, new ideas – but only his. Shia LaBeouf ‘s request to read something differently is rebuffed. Megadoc is extremely “inside” – we learn about endless hours waiting for things to happen, the scene, the light, plus the flashes of narcissism, entitlement, moods, while waiting for all the departments to do what they need to do. I’ve been on a few and yup. Dull, long, unremarkable – not the doc, the life on the set. Appearances and remarks about Coppola from Adam Driver, Nathalie Emmanuel, Giancarlo Esposito, Chloe Fineman, Laurence Fishburne, Dustin Hoffman, George Lucas, Aubrey Plaza and Jon Voight as well as crew members.
The joyful, eyeful cult classic film The Rocky Horror Picture Show came out in 1975 and that run lasted a whopping 118 weeks – subsequent releases continue, following a hugely successful three year run as a live musical. David Bowie, Mick Jagger and Lou Reed all tried to buy the film rights for themselves but the originals held on tightly so they could appear in the thing they created. It’s available to see on the regular, nowadays, on the big screen and on streaming services. Why is it so special? There’s nothing else like it. The musical’s about being one’s true self, on all levels from sexuality to dressing and believing and living your truth – who you really are – and celebrating with like minded individuals. Linus O’Brien’s wonderful doc Strange Journey: The Story of Rocky Horror brings it all back to life. Rousing, nostalgic rock songs written by Richard O’Brien still make us step to the right and step to the left, throw rice at the stage during the wedding scene, shoot water pistols for the rain scene and more. Watching and taking part is a global event, Saturday and Sunday midnights around the world from here to China and Mozambique and back to Toronto’s Roy Thomson Hall next month.
The documentary Andrea Bocelli: Because I Believe is in theatres worldwide this Sunday Sept 21, a look at his life, through intimate interviews with him, his accomplishments and reflections and his talent. Regarded as one of the world’s greatest singers, with 90 million albums sold and umpteen sold out global live concerts, the doc features archival and new footage, interviews with his intimates and colleagues that only enrich our admiration for the 66-year-old visually impaired Italian tenor. Bocelli recently released the album Duets featuring Ed Sheeran, Céline Dion, Luciano Pavarotti, KAROL G, Shania Twain, and Matteo Bocelli. Soul soothing vocals and new insights make this a worthy couple of hours.
British actor Lily James is American entrepreneur Whitney Wolfe in the Hulu Original film Swiped, the true story of a pioneering businesswoman whose life and career were publicly ruined by stunning, systemic chauvinism. Wolfe co-founded the dating app Tinder within a tech incubator. It was a major success, but she was frozen out of the company, despite her inventive, problem-solving crucial to its success. The reason? She called for Tinder to stop with the “dick pics” it allowed. And the revenge of her toxic boyfriend co-worker for dumping him, crashing her rep in the company. Wolfe quickly learned the true nature of the male dominated tech industry. She was forced to leave and sued; she had a dream to create a female friendly, non nudity dating app based on kindness and that became Bumble, and Bumble BFF, proving her value to the industry and becoming the youngest female tech billionaire in the US. But a Forbes article, written by a woman, based on conversations with the men at Tinder and none with Wolfe heaped abuse and shamed her. Out of the blue, a Russian entrepreneur well versed in her public challenges comes forward to ask that she become his CEO. Much more lies ahead, twists and turns, and fresh wounds but she carries on, a warrior. A deflating portrait of an industry that needs to improve, of sexism and of being strong when you feel your weakest. Directed by Rachel Lee Goldenberg, co-starring Jackson White, Myha’la, Ben Schnetzer, Pierson Fodé, Clea DuVall and Dan Stevens. Sept. 19 on Disney+.
Netflix‘ riveting eight-part series House of Guinness gives family businesses a bad name. Phenomenally successful Ango-Irish brewer Benjamin Guinness died in 1868 leaving four children, Arthur, Edward, Anne and Ben. The family were unpopular in Dublin to say the least. Workers made the bare minimum helping build the massive global business while they lived in luxury. His children were not terribly fond of him, mistrusted him. Daughter Anne had to pay rabble organisers to clear the street and hire soldiers to allow Sir Benjamin’s funeral cortege to pass; egg throwing Fenian hecklers hated them as “Protestant gentry”. The family sat together at the cathedral but didn’t attend the funeral out of fear to await the reading of the will. It was a shocker – the old man left everything to Ben. A few concessions to the other males and nada to Anne as she was married – to a poor pastor. Benjamin had been tight “Your father always gave the church “just not quite enough”. But her gentle wisdom keeps the family together and makes dubious concessions to protect them. Workers drink in a bar that serves only stolen Guinness, and one night the cooperage where full barrels are kept is burned to the ground. Someone left the door unlocked. Meanwhile Ben owes local baddie Bonnie Campion a gambling debt of 170K pounds. “..or he’ll throw me in the canal”. Its loosely fact-based but rather entertaining. The modern rock score adds a certain tang to the proceedings and reminds us human nature ‘twas ever thus. Oh, and there are no longer any members of the Guinness family on the board. This will spell out why. In theatres Sept. 25th