You wouldn't think it was possible to make a three hour film in which very little happens, but Francis Ford Coppola succeeded with this decidedly average and woeful anti-climax to his Mafia saga.
The flaws are glaringly obvious : a lack of characters from the first two parts (Robert Duvall being a prime example) looses the whole family feel of the trilogy. Andy Garcia (as Vincenzo) is brought in to bolster up the development of Michael Corleone (Al Pacino) but the character never develops past an awkward romantic sub-plot involving his cousin... ..which brings us onto Sofia Coppola. Much has been written about her acting ability, or lack of, and this reviewer will only comment that if you don't know what she looks like - or which character she plays, you'll be able to work it out pretty quickly.
The film starts promisingly enough, but loses it's way in the middle, which is overly-complicated. However it is the finale that lets the film - and the trilogy down. The murder of a principal character would be effective, but for the fact that the principal character is only principal to THIS film, and not parts 1 or 2
Seemingly aware of this, Coppola jumps several years into the future for the supposedly dramatic death of Michael. But, there is little spectacle surrounding this either.
In conclusion, if you have sat through Parts 1 and 2, this is pretty essential viewing. Just don't get your hopes up.
The flaws are glaringly obvious : a lack of characters from the first two parts (Robert Duvall being a prime example) looses the whole family feel of the trilogy. Andy Garcia (as Vincenzo) is brought in to bolster up the development of Michael Corleone (Al Pacino) but the character never develops past an awkward romantic sub-plot involving his cousin... ..which brings us onto Sofia Coppola. Much has been written about her acting ability, or lack of, and this reviewer will only comment that if you don't know what she looks like - or which character she plays, you'll be able to work it out pretty quickly.
The film starts promisingly enough, but loses it's way in the middle, which is overly-complicated. However it is the finale that lets the film - and the trilogy down. The murder of a principal character would be effective, but for the fact that the principal character is only principal to THIS film, and not parts 1 or 2
Seemingly aware of this, Coppola jumps several years into the future for the supposedly dramatic death of Michael. But, there is little spectacle surrounding this either.
In conclusion, if you have sat through Parts 1 and 2, this is pretty essential viewing. Just don't get your hopes up.