I was looking forward to seeing the movie “Megalopolis.”

After all, writer-director Francis Ford Coppola bet the farm, or rather part of his vineyard estate, to provide at least $120 million to finance “Megalopolis.”

Francis Ford Coppola, with some 40 director credits, according to Internet Movie Database, is best known as director of “The Godfather” (1972) and its two sequels (1974, 1990), as well as “Apocalypse Now” (1979) and “The Conversation” (1974).

Coppola, a leading figure of the New Hollywood film movement that included George Lucas and Steven Spielberg, is regarded as one of the greatest directors ever. He has received five Academy Awards and was nominated for 14 Oscars.

“Megalopolis” is said to have been 40 years in the making. And it feels that way.

”Megalopolis” is a film that Coppola aficionados will want to see. Alas, they may wish they hadn’t and instead went to see “The Wild Robot.”

“Megalopolis,” though visually-stunning and with good performances by a notable ensemble cast, is a big disappointment. It’s slow-moving, confusing, lacks genuine conflict and drama, and seems almost totally devoid of plot and a compelling story. Thus, as Lehigh Valley film-maker Vincent Mondillo is wont to say, it’s akin to the “march of the wooden soldiers.”

“Megalopolis” posits conniving and scheming characters with the improbable names of Cesar Catilina (Adam Driver), Mayor Franklyn Cicero (Giancarlo Esposito), Julia Cicero (Nathalie Emmanuel), Hamilton Crassus III (Jon Voight), Teresa Cicero (Kathryn Hunter), and Constance Crassus Catilina (Talia Shire).

Wait. It gets better. Or worse.

There’s Wow Platinum (Aubrey Plaza), Clodio Pulcher (Shia LaBeouf), Fundi Romaine (Laurence Fishburne), Jason Zanderz (Jason Schwartzman) and Nush Berman (Dustin Hoffman).

With such cardboard-cutout cartoon names, it’s difficult to take any of the roles or actors seriously, try as you or they might.

Especially not when the lead character Cesar (Adam Driver) is an architect and Chairman of the Design Authority in New Rome. Cesar has the ability to stop time. Can he stop urban sprawl? Can he stop this movie?

The derivation of the film’s title, “Megalopolis,” is vague. A megalopolis is defined roughly as a group of metropolitan areas perceived as a continuous urban area.

The Northeast megalopolis, known as the Northeast Corridor, or Acela Corridor, composed of the Washington to Boston corridor, is said to be the world’s largest megalopolis by economic output and the most populous megalopolis in the United States, with approximately 50 million residents as of 2022.

And yet, the movie, “Megalopolis,” takes place in a city called New Rome, which looks a lot like New York City. The sense of the movie is that of “Batman” (1989) meets “The Fountainhead” (1940) meets “Citizen Kane” (1941).

I’m not sure what Francis Ford Coppola was thinking or drinking (Maybe the remaining wine from the parcel he sold off?) when he wrote and directed and produced “Megalopolis.” He certainly was swinging for the fences. The film is more of an infield out.

“Megalopolis” is a disaster film. It’s not a film about a disaster. It is a disaster, albeit a fascinating one.

“Megalopolis” is a particularly grim place, and film, to visit. There’s not a lot of amusement to go around. In fact, the biggest laugh at the IMAX screening that I attended was provided by yours truly.

The last frame of “Megalopolis” is a title card, created as if carved in stone in Roman-style font. It reads:

“I pledge of allegiance to our human family, and to all the species that we protect. One Earth, indivisible, with long life, education and justice for all.”

The quote is dated MMXXIV, which is Roman numerals for 2024.

I blurted out, spontaneously, and rather loudly, ”What the hell was that?”

Laughter ensued in the audience seated around me. There were only about one dozen at the IMAX evening screening. Still, I slayed. My tight two minutes of sit-down comedy.

If you want to see “What the hell was that,” then by all means see “Megalopolis.”

You have been forewarned.

“Megalopolis,” R (Restricted. Under 17 requires accompanying parent or adult guardian. Contains some adult material. Parents are urged to learn more about the film before taking their young children with them.) for sexual content, nudity, drug use, language and some violence; Genre: Science Fiction, Fantasy, Drama; Run time: 2 hours, 18 minutes. Distributed by Lionsgate.

Credit Readers Anonymous: “Megalopolis” was filmed in New York City and Trilith Studios, Atlanta, Ga., from Nov. 2, 2022, to March 30, 2023.

At The Movies: “Megalopolis” was seen in the IMAX at AMC. It wasn’t necessary.

Theatrical Movie Domestic Weekend Box Office, Oct. 11-13: “Terrifier 3,” Damien Leone directs Lauren LaVera, David Howard Thornton, Jason Patric and Bethlehem’s Daniel Roebuck in the Horror film, opening No. 1 with $18.3 million in 2,514 theaters, out-joking “Joker: Folie à Deux” from its one-week No. 1 run, dropping two places to No. 3, with $7 million in 4,102 theaters, $51.6 million, two weeks, as “The Wild Robot” stayed in place at No. 2 with $13.4 million in 3,854 theaters, $83.7 million, three weeks.

4. “Beetlejuice Beetlejuice” dropped one place, $7 million in 3,408 theaters, $275.6 million, six weeks. 5. “Piece by Piece,” the Pharrell Williams biopic told in Legos, $3.8 million in 1,863 theaters, opening. 6. “Transformers One” dropped two places, $3.6 million in 2,758 theaters, $52.8 million, four weeks. 7. “Saturday Night” moved up 12 places, $3.4 million in 2,309 theaters, $4.1 million, three weeks. 8. “My Hero Academia: You’re Next,” a manga animation feature, $3 million in 1,845 theaters, opening. 9. “The Nightmare Before Christmas,” $2.3 million in 1,700 theaters, re-release. 10. “The Apprentice,” the story of the young Donald Trump, played by Sebastian Stan, is told, $1.5 million in 1,740 theaters, opening. 17. “Megalopolis” dropped seven places, $230,000 in 227 theaters. $7.3 million, three weeks.

Movie box office information from Box Office Mojo as of Oct. 13 is subject to change.

Unreel, Oct. 18:

“Smile 2,” MPAA R: Parker Finn is back to direct Naomi Scott, Kyle Gallner (reprising his role) and Drew Barrymore in the Horror Thriller. Pop star Skye Riley experiences terrifying and inexplicable events.

“We Live in Time,” R: John Crowley directs Andrew Garfield, Florence Pugh and Grace Delaney in the Drama Romance. A chef and a divorcee meet in a chance encounter that leads to a decades-spanning romance.

“Rumours,” R: Evan Johnson directs Cate Blanchett, Rolando Ravello, Alicia Vikander and Charles Dance in the Comedy Horror film.

Movie opening information from Internet Movie Database as of Oct. 13 is subject to change.

Two Popcorn Boxes out of Five Popcorn Boxes