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Post by pacinoyes on Dec 7, 2020 19:39:23 GMT
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Post by pacinoyes on Dec 9, 2020 14:00:16 GMT
What's interesting right now is that 3 of the most contentious contemporary snarky critics - Robbie Collin (I loathe him), Armond White (fascinating yet ridiculous odd-duck) and Richard Brody (America's "most powerful critic" to other critics at least I would think - the closest to Kael because he can really write - occasional iffy tastes) have now all advocated for this movie in its current form or previous edition. None were critics in a major way in 1990, you would think all would hate this (there's still plenty of hate!) and White and Brody are more re-championing the original cut as well as this new cut (with some gripes aside) as a "masterpiece" ..... I would have never thought those 3 guys would be in this movies critical camp at all. ....................and yes Brody spoils the new ending also which he praises The re-edited version is a puckish paradox: it is only slightly different from the original—yet, now, this movie, which was widely derided at the time of its release, in 1990, is being acclaimed by a (mainly) new generation of critics, even if not quite as the masterwork that some of us knew it to be from the start.www.newyorker.com/culture/the-front-row/newly-re-edited-the-godfather-part-iii-is-the-masterpiece-it-already-was
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Post by pacinoyes on Dec 10, 2020 18:28:05 GMT
What's interesting right now is that 3 of the most contentious contemporary snarky critics - Robbie Collin (I loathe him), Armond White (fascinating yet ridiculous odd-duck) and Richard Brody (America's "most powerful critic" to other critics at least I would think - the closest to Kael because he can really write - occasional iffy tastes) have now all advocated for this movie in its current form or previous edition. None were critics in a major way in 1990, you would think all would hate this (there's still plenty of hate!) and White and Brody are more re-championing the original cut as well as this new cut (with some gripes aside) as a "masterpiece" ..... I would have never thought those 3 guys would be in this movies critical camp at all. ....................and yes Brody spoils the new ending also which he praises The re-edited version is a puckish paradox: it is only slightly different from the original—yet, now, this movie, which was widely derided at the time of its release, in 1990, is being acclaimed by a (mainly) new generation of critics, even if not quite as the masterwork that some of us knew it to be from the start.www.newyorker.com/culture/the-front-row/newly-re-edited-the-godfather-part-iii-is-the-masterpiece-it-already-was .........another one of the people you'd think would hate it and pacinoyes punching bag/douchebag David Ehrlich now - the king of snarkiness .......I really can't believe these particular 4 would be pro on this movie to varying degrees in any way.......... Collin/White/Brody/Scott this not their general cup of tea at all..... david ehrlich @davidehrlich wrote about THE GODFATHER CODA: THE DEATH OF MICHAEL CORLEONE, which allows Francis Ford Coppola to re-contextualize The Godfather Part III in subtle but profound ways that clarify the film's place in the saga and redeem Sofia Coppola's role in it.
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Post by Mattsby on Dec 11, 2020 19:46:18 GMT
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Post by The_Cake_of_Roth on Dec 11, 2020 20:41:50 GMT
This bit about the Hearts of Darkness documentary made me laugh:
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Post by pacinoyes on Dec 13, 2020 9:51:37 GMT
Nifty frame by frame (?) comparison of the previous Director's Cut video edition and the new Coda edition for editing fans especially ........I don't have the DVD edition of Coda but I was sure some of the stuff with the election of the Pope was cut down too so I guess I was remembering that entirely wrong. Still hanging in pretty well on RT - 90% off 39 reviews; 76% Metacritic atm..... Includes the frame of the "DePalmaesque" Coda Don Lucchesi scene which is pretty cool to see side by side: www.movie-censorship.com/report.php?ID=785871
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Post by pacinoyes on Dec 13, 2020 14:57:56 GMT
Livestream taping he did last night starting at 20.50........not on Coda specifically - though he covers that towards the end - but also on his whole career overview - goes into long detours on The Doors in Apocalypse Now.....film technique and choices ......streaming.......even recent movies he liked (including Paul Dano's Swiss Army Man which he can't remember the title of)..............lots of interesting stuff stuff...."Goethe's last words......"More Light""........)
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Post by pacinoyes on Dec 15, 2020 16:58:16 GMT
I'll give it a rest after this since this is a little/a lot Pac-botish by me (um) but this is now certified fresh on RT - so it will finish up around ~85%+ (it's 90% atm). That's 3 movies Al Pacino has had play in theaters in the last 18 months and yeah one is old and one was a glorified cameo but those were - 85%, 90% (currently), 95% - it's what I always say - filmography matters, great actors are in great movies - and the reason he's the GOAT or co-GOAT with Brando, De Niro, Nicholson is his career is always realigning in real time. With him it's never only about the next one (which trust me, will suck I'm quite sure) it is the totality of effect of his body of work and it somehow always being rethought, reassessed, reevaluated. .........and I really hope FFC makes another movie and I hope he's in it in some way......
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Post by pacinoyes on Dec 24, 2020 19:03:50 GMT
A decent article today on Screen Rant - but that spoils the new ending (wtf) in its very headline now .......so if you know how it ends now read on, if not, nothing to look at here........move along...... Also this does miss the entire point/fact the new title of this film is now: an IRONY - as in the first film - where "The Godfather" really applies to Michael not Vito by the end AND the fact that this new ending matches the endings of not only the previous installments of this story but in Coppola's other BP nominees - The Conversation and Apocalypse Now where the main character survives but is irrevocably changed - what I have called on MAR "the Coppola ending" - and which appears in his greatish 1969 movie - The Rain People as well and that movie now looks like more of an influence than it did before
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Post by TerryMontana on Mar 29, 2021 17:13:27 GMT
I just saw this and I have to say I liked it better the way it was... Imo GF III was always a good movie. Not the same level as the first two, of course, but a decent one. I'd say it was a 7.5/10 for me. What Coppola did here was a few slight touches: Starting the movie with Michael talking to the archibishop about Immobiliare (which was totally fine and cleared out quite a few things regarding the plot) and deleting/shortening a couple of other scenes. Now that's where my problem lies: He cut out two of the most powerful scenes of the film: Michael breaking down in front of Don Tommasino's coffin and, in the end, dancing with the women of his life... I mean, the guy had just asked a last chance to redeem himself and lost it, plus he was the reason all three women died or abandoned him... And somehow Coppola decided he didn't need these scenes!!!!! What I liked was that he didn't show Micheal dying but replaced that part with the Sicilian wish for longevity. That was a good one! The Death of Michael Corleone could very well be him living alone for decades, as anyone who he ever loved had died by his fault or abandoned him . Overall I'd say it was a 6.5/10 in my mind.
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