The Godfather: Part III (1990)

 

 

 

In the midst of trying to legitimize his business dealings in 1979 New York and Italy, aging mafia don Michael Corleone seeks to vow for his sins while taking a young protégé under his wing.

 

It's a good movie with all the ingredients of the previous parts, but adds nothing in scope and depth, and the plot is not as stringently scripted.

 

On re-watching: This remains an ambivalent experience, since it falls so way down below the previous two films and has so many flaws and only rare moments of brilliance.

 

Halliwell**: "Overlong, often confusing to those who cannot remember the earlier films, and hampered by at least one wretched performance, it fails to reach the standard of the first two movies in the series. But for all that it retains one's interest most of the time."

 

Maltin***: "Only a filmmaker like Coppola (teamed with writer Mario Puzo) could extend his history-making Mafioso saga and make it work so well. Absorbing story...Longish, but masterfully told, with one almost-fatal flaw: the casting of Coppola's daughter Sofia (an amateur) in the pivotal role of Pacino's daughter."

 

[N.B.: Although many have criticized Sofia Coppola, I disagree: she plays adequate to the role. The problem is that the love story with her cousin is in itself misconceived from the start.] 

The Godfather: Part II (1974)

 

The early life and career of Vito Corleone in 1920s New York is portrayed while his son, Michael, expands and tightens his grip on his crime syndicate stretching from Lake Tahoe, Nevada to pre-revolution 1958 Cuba.

The rare case of a sequel to a masterpiece improving, expanding and deepening the scope of the original; one of the greatest movies ever made.

On renewed viewing: Evey new viewing leaves me in complete amazement over its mastery.

Halliwell****: "Complex gangster movie, explaining the present in terms of the past and providing a comprehensive view of American society, full of good scenes and performances."

Maltin****: "They say it couldn't be done, but cowriter-director Coppola made a sequel that's just as compelling."

 

The Godfather (1972)

 

The aging patriarch of an organized crime dynasty transfers control of his clandestine empire to his reluctant son.

A flawless epic with mastery to be found in all parts, a true cinema classic.

On re-watching: every new reviewing reveals more fascinating details and more context in the narrative.

Halliwell****: "A brilliantly-made film with all the fascination of a snake pit: a warm-hearted family saga except that the members are thieves and murderers. Cutting would help, but the duller conversational sections do heighten the cunningly judged moments of suspense and violence."

Maltin****: "The 1970s' answer to GONE WITH THE WIND, from Mario Puzo's novel...Pulp fiction raised to the highest level; a film of epic proportions, masterfully done, and set to Nino Rota's memorable music. Absolutely irresistible."

 

I Knew It Was You: Rediscovering John Cazale (2009)

 

A portrait of the acting craft of John Cazale and a tour through the movies that defined a generation.

Insightful, but much too short celebration of a great actor; lots of famous actors of equal talent get to pay homage. 

On re-watching: makes you want re-watch all of John Cazale's films. 

Scarecrow (1973)

Scarface (1983)

In 1980 Miami, a determined Cuban immigrant takes over a drug cartel and succumbs to greed.

Deliberately sleazy, but engrossing gangster saga (clearly an Oliver Stone script!) with no redeeming character in sight with screechingly over-the-top performances by Pacino and Pfeiffer, a gawdawful 80s soundtrack (which was already dated at the time of its release) and lots of explicit violence.

Halliwell (no star): "Absurdly brutalized remake, with detailed violence and a superabundance of foul language; the film seems to want to make a political statement."

Maltin*1/2: "...but this film wallows in excess and unpleasantness for nearly three hours, and offers no insights except that crime doesn't pay. At least the 1932 movie moved. Even so, this has become a pop-culture phenomenon, with Pacino's Montana an underdog hero!"

The Irishman (2019)

A mob hitman recalls his possible involvement with the slaying of Jimmy Hoffa.

A return to form for Martin Scorsese (and for both Robert De Niro and Joe Pesci as well) once again intensely analyzing mob mentality, but with mature mastery and a more subtle and at times even humorous approach and, nonetheless, with great emotional power.

Once Upon a Time... in Hollywood (2019)

A faded television actor and his stunt double strive to achieve fame and success in the film industry during the final years of Hollywood's Golden Age in 1969 Los Angeles.

This Tarantino movie shows all the panache, high production quality, good set pieces, cinematic allusions and top performances and cameos, for which the director is generally celebrated, - so there's lots to be found here to please the senses - but it's essentially without a plot and therefore outstays its welcome; it's very superficial and mainly a buddy movie with outstanding DiCaprio and Pitt chemistry combined with a heavy streak of nostalgia for a bygone Hollywood era - and the Manson family (plus Sharon Tate) angle is cynically pitched in as a stilted plot device.

...and justice for all. (1979)

A lawyer is forced to defend a guilty judge, while defending other innocent clients, and trying to find punishment for the guilty and provide justice for the innocent.

From memory: Over-the-top satire on the US justice system has a great cast and good cinematography, but, despite in some singular moments, somehow misses the point. 

Halliwell (no star): "Not so much a satire as a series of random pot-shots at the legal system, sometimes funny but cumulatively stultifying."

Maltin**1/2: "Outrageous satire mixes uncomfortably  with painfully sad moments, in attempt to make stating statement on buying and selling of justice. Strong performances and good location photography cannot overcome weak script."

Cruising (1980)

A police detective goes undercover in the underground S&M gay subculture of New York City to catch a serial killer who is preying on gay men.

From memory: more exploitative than effective thriller seems to revel in the sleazy underworld it presents; still, Al Pacino does another great job in the lead role.

Halliwell (no star): "Alleged thriller with phoney pretensions and repellent detail."

Maltin*1/2: "...distasteful, badly scripted film. Gay world is presented as sick, degrading, and ritualistic."

Al Pacino

I Knew It Was You: Rediscovering John Cazale (2009)

A portrait of the acting craft of John Cazale and a tour through the movies that defined a generation.

Insightful, but much too short celebration of a great actor; lots of famous actors of equal talent get to pay homage.

Danny Collins (2015)

An aging rock star decides to change his life when he discovers a 40-year-old letter written to him by John Lennon.

Slightly entertaining, easygoing comedy-drama; for Al Pacino and Christopher Plummer obviously a piece of cake.

Scent of a Woman (1992)

On the set: Martin Brest and Al Pacino

Al Pacino

Al Pacino takes a stroll along Madison Avenue, NYC - 1976

Al Pacino

Al Pacino

(ph: Dan Wynn)

Bio:

https://en.wikipedia.org/wiki/Al_Pacino

Serpico (1973)

The Godfather: Part III (1990)

 

 

In the midst of trying to legitimize his business dealings in 1979 New York and Italy, aging mafia don Michael Corleone seeks to vow for his sins while taking a young protégé under his wing.

 

It's a good movie with all the ingredients of the previous parts, but adds nothing in scope and depth, and the plot is not as stringently scripted.

 

I watch the Godfather trilogy at least once a year; nothing to add to my previous comment.

 

Halliwell**: "Overlong, often confusing to those who cannot remember the earlier films, and hampered by at least one wretched performance, it fails to reach the standard of the first two movies in the series. But for all that it retains one's interest most of the time."

 

Maltin***: "Only a filmmaker like Coppola (teamed with writer Mario Puzo) could extend his history-making Mafioso saga and make it work so well. Absorbing story...Longish, but masterfully told, with one almost-fatal flaw: the casting of Coppola's daughter Sofia (an amateur) in the pivotal role of Pacino's daughter."

 

[N.B.: Although have criticized Sofia Coppola, I disagree: she plays adequate to the role. The problem is that the love story with her cousin is in itself misconceived from the start.] 

 

 

The Godfather: Part II (1974)

The early life and career of Vito Corleone in 1920s New York is portrayed while his son, Michael, expands and tightens his grip on his crime syndicate stretching from Lake Tahoe, Nevada to pre-revolution 1958 Cuba.

The rare case of a sequel to a masterpiece improving, expanding and deepening the scope of the original; one of the greatest movies ever made.

On renewed viewing: I watch the Godfather trilogy at least once a year; nothing to add to my previous comment.

Halliwell****: "Complex gangster movie, explaining the present in terms of the past and providing a comprehensive view of American society, full of good scenes and performances."

Maltin****: "They say it couldn't be done, but cowriter-director Coppola made a sequel that's just as compelling."