Word: g3
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...this issue simply too pedestrian and unsophisticated to be a cause for concern? --Andrew Gossen, G3...
...perplexer is whether filmgoers will care to see, or care about, an aging entrepreneur haunted by specters from films nearly two decades old. Because this is a movie about loss, Pacino must relinquish the steely calm of his youthful Michael; now he is Lear without the grandeur. Nor can G3 find suave new twists and characters to propel the plot and lure the teens. Garcia, an electric actor, swaggers so handsomely that he makes one wish for another sequel. But he is helpless to strike sparks with Sofia Coppola (the director's daughter), whose gosling gracelessness comes close to wrecking...
...first Godfather films sketched a history of the Mafia as a cracked- mirror reflection of American industry. One hoped G3 might pit the Corleones against the bad boys of the drug trade: the old Italians vs. blacks and Hispanics, rustic chivalry vs. cutthroat capitalism. Instead, Coppola, who wrote the screenplay with Puzo, sends Michael on a side trip to Rome and Sicily...
There is some colorful conniving: who'd have guessed that an international cartel fatally poisoned Pope John Paul I? But G3 never persuades one of the urgency of its maxim that "finance is a gun, and politics is knowing when to pull the trigger." With all its boardroom bickering, the plot is a gun that shoots mostly blanks. G3 is too faithful to the deliberate pacing of the first two films: the slow walking into a dark room, the silence surrounding the threats. For two hours the movie labors up the winding path of its story, wheezing like...
...fidelity has its rewards. Remember how, in the other Godfathers, nearly every religious ceremony (baptism, festival, funeral) is accompanied by a murder? As in the first film, G3 has a spectacular payoff: accounts of honor settled with elaborate vengefulness. As in the second film, a fearful price is paid for power, and Michael is left alone to consider the cost...