George Miller

Action films are boring. This isn’t really an opinion, it’s just demonstrably true. Try it for yourself: put on any high-octane, orange-and-teal action movie from the last 15 years and see how long it takes before you start automatically fiddling around with your phone. I can usually make it about five minutes. This is weird. I can deal with all the incredibly sedate cinematic vegetables just fine, but as soon as there are gunfights or chases involved I get distracted. I think I know why. The real betrayal of this Mad Max sequel is that it’s full of talking Action directors know that they’re competing with the sensory equivalent of a crackpipe in every pocket, so they do whatever they can to make their films as attention-grabbing as possible.

Although this year’s Cannes Film Festival hasn’t concluded yet (it runs until this Saturday), there is a general sense that the true talking-point pictures have been frontloaded into the opening week, both in competition and out of it. Without doubt, the one that has attracted the most attention is Francis Ford Coppola’s sci-fi epic Megalopolis, which premiered last Thursday to a mixture of outright scorn and bemused but respectful appreciation, all of which suggests that, although it still lacks a US distributor, it will keep making waves upon its release later this year — although the chances of Coppola regaining anything like his $120 million investment are slim, to say the least.