family film reviews

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Grifters, The

The Grifters ***1/2 (out of 5) (1990)

Cast: Angelica Huston, John Cusack, Annette Bening, Jan Munroe, Robert Weems

Directed by Stephen Frears

  An older woman works for a powerful bookie, a younger woman seduces her way through life, while a young man uses sleight of hand to nickel and dime a living for himself. Other than the fact that they are all on the grift, they are also a mother, son and girlfriend. Their lives cross, butit becomes more of a double-cross as they can’t trust each other.

A well-acted and absorbing modern film noir, taken from the gritty Jim Thompson novel which was adapted into a screenplay by modern crime writer Donald Westlake. The characters are complex, situations authentic and while the point of the film seems enigmatic, it still remains fascinating. It probably could have been better, with an overall awkwardness in the directorial style and choice of music (Elmer Bernstein doing 40s noir in modern terms) tend to keep the going on in something less than gripping terms. Overrated by critics and overlooked by the mass audience, it’s worthwhile enertainment fans of film noir and crime dramas.

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DOWNLOAD MOVIE Fallen Just $2.99 for a complete movie! No additional software or browser plug-ins required! You can play them for unlimited number of times whenever you want. Downloaded movies will work perfectly on any PC, DVD player, PDA etc.
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Born into Southern money and a rather troubled family life Gram Parsons had both the best and the worst in life right from the beginning. Being a talented musician who was supported by his family he parlayed his skills, left Harvard after on semester and headed for California to start making music before things came crashing down.

For those who don’t know Gram Parsons was an alt-country [or country rock] rock ‘n roll musician who’s flamed burned bright for too short a time before he died of a drug overdose in 1975 at the young age of 26. Along with that other group of hallowed musicians who died too young - such as Jimi Hendrix, Janis Joplin and Jim Morrison - Parsons created some fine music. But where each of the others hit their stride early and became legends before death Parsons was just on the cusp of greatness.

He played in the International Submarine Band, The Byrds

DOWNLOAD MOVIE Holiday, The Just $2.99 for a complete movie! No additional software or browser plug-ins required! You can play them for unlimited number of times whenever you want. Downloaded movies will work perfectly on any PC, DVD player, PDA etc.
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Holiday, The

Part modern romantic comedy, part tribute to the Hollywood romances of yesteryear, The Holiday offers up nothing more than a feel-good holiday romance that’s as pretty to look at as it is easy to digest.  Of course, a concoction this sweet (almost to the point of being toxic) won’t be to all tastes, as this one primarily aims its sights at the female audience, most of whom will enjoy the film for its aesthetic delights much more so than the feelings of romance at the heart of the film.  Cute kids, cute dogs, cute houses, cute old men, cute clothes, cute restaurants — there isn’t a single aspect in the film that isn’t presented in that “my, isn’t that adorable!” chick flick tradition that will have women in the audiences pointing at the screen saying, “I want that!” much like I used to do when watching toy commercials as a child (OK, so I still do it).   In the film, two women from different continents, Iris (Winslet, Little Children) from England and Amanda (Diaz, In Her Shoes) from America, are disappointed by their respective boyfriends to the point where they just want to get away from their lives to be alone for a bit.  It just so happens that they both join a web site that allows people to swap lives for a bit, with each person staying in the home of the other for two weeks while they vacation in a place they’d love to be, meeting people they don’t know, and completely being able to forget themselves and the pain they feel, even if only for a temporary time.  One thing they didn’t count on is that they might fancy a bloke during that stay, as Iris encounters a film scorer (Black, Tenacious D) who is going through a similar bout of underappreciation, while Amanda meets Iris’s handsome brother, Graham (Law, Closer), originally regarded as a no-strings fling, but who turns out to be more than just a handsome man in a time of need.  With time running out on their vacations, the heart wants to continue getting to know the people they’ve newly met, while the head tells them to pull back from certain pain, knowing that at the end of it, they need to return to their own lives on the other side of the world. Slick and polished, you expect nothing less from Nancy Meyers (Something’s Gotta Give, What Women Want), who has spent most of her career trying to rekindle the romance back into romantic comedies.  Each character in the film is a member of the entertainment industry — journalist, film composer, screenwriter, and trailer editor — each commenting on what works and what doesn’t, even in their own lives, pausing for moments of self-reflection on how they are in a romantic comedy of their own making.  Meyers has stated that she had written each of the four lead roles with these particular actors in mnd, which might help explain why the film plays to their respective strengths.  Perhaps the most curious casting is that of Jack Black, who is surprisingly subdued, yet still quite charming — his role is the leanest, but he makes the most out of what could have been a forgettable secondary character. If you’ve noticed the running time of the film, which stands at a sizable two hours and eighteen minutes, you will probably wonder why a romantic comedy, which are usually burdened with a great deal of filler, would need so much time to get where we all know it’s going to go.  Truth is, it doesn’t — a good portion of the film is devoted to a mostly superfluous subplot involving an elderly screenwriter (Wallach, Keeping the Faith) who ends up getting rehabilitated somewhat through his sudden friendship with Iris.  I’m guessing that Meyers has used this character as part of her tribute to the screenwriters who came before, giving us all of the old romances that continue to enthrall audiences in a way that most modern films fail to do any more.  It’s a nice touch, and the scenes work well, but might have been better served in another movie entirely. While I do think that the audience for which this film is intended will come away pleased, The Holiday does fall short in terms of leaving a lasting impression as anything more than a pleasant diversion for people who don’t want to experience anything too heavy.  Like many in the genre, the events of the film are predictable and contrived, but the actors do elevate the story emotionally — we do end up caring about them enough to want a happy conclusion for them all. As far as films go, this is a light, decadent confection heavy on the sweetness — very tasty and enjoyable, but not likely to have you thinking about it once it is completely consumed.    Like the many old-fashioned romances upon which Meyers draws inspiration, it is a bit corny, but as Iris remarks in the film, “I like corny.  I’m looking for more corny in my life”.  It helps i
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DOWNLOAD MOVIE Rain Man Just $2.99 for a complete movie! No additional software or browser plug-ins required! You can play them for unlimited number of times whenever you want. Downloaded movies will work perfectly on any PC, DVD player, PDA etc.
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The
movie

Winner of the 1988 Academy Awards for Best Picture, Best Actor (for
Dustin Hoffman), Best Director, and Best Original Screenplay, Rain
Man has held up very well to the passing of time, and I suspect
will continue to do so. Charlie Babbitt (Tom Cruise) is a driven
young man, still hurting from his childhood conflict with his father.
When he discovers a long-lost brother, Raymond (Hoffman), smoldering
resentments come to life and Charlie sees Raymond as unfairly taking
more than his share: of his father’s estate, and perhaps also of his
father’s love. What happens after that is an unexpected road trip
that allows Charlie to really get to know Raymond… and shakes up
his own ideas about what he really wants.

Possibly the best-known aspect of Rain Man, familiar even to
those who haven’t seen the movie, is its autistic character, brought
to a very believable life by Dustin Hoffman. Hoffman is always in
character: for the duration of the film, he is Raymond, occupying a
world of his own with only occasional, brief connections to the outer
world inhabited by the rest of us. Critics have pointed out that
Raymond isn’t exactly a typical autistic; for one thing, the “savant”
portion of his disability is extremely rare. But this is, after all,
film: without Raymond’s special abilities, we could still have a
story, but it’s not the one that the filmmakers chose to tell.
Another criticism is that he’s atypically
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DOWNLOAD MOVIE Exorcist: The Beginning Just $2.99 for a complete movie! No additional software or browser plug-ins required! You can play them for unlimited number of times whenever you want. Downloaded movies will work perfectly on any PC, DVD player, PDA etc.
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The Movie

Every few years, a movie comes along that is a true phenomenon. These movies permeate not only the filmgoing public, but our entire culture as well. Almost by definition, a phenomenon is something that is unique and cannot be duplicated. But, the powers that be in Hollywood don’t like the word “no” and will try to re-capture lightning in a bottle over and over again. When The Exorcist first hit movie screens in 1973, it became one of these phenomenon films and the legend of the film quickly grew. And even after two financially disappointing sequels, Hollywood is still trying to capitalize on the fame of that influential movie some 30 years later with the release of Exorcist: The Beginning, a film whose behind-the-scenes story is much more interesting than the movie itself.

Exorcist: The Beginning is a prequel to The Exorcist and tells the backstory of Father Merrin, the exorcist from the original film, who was played by Max Von Sydow in the 1973 movie. As Exorcist: The Beginning opens in 1949, where we meet Merrin (here played by Stellan Skarsgard) in Cairo. Merrin had been a priest, but due to some violent experiences in his past, he’s since left the church. Merrin is approached Semelier (Ben Cross), a mysterious man who asks Merrin, who has a background in archeology, to venture to Africa to retrieve an artifact from a dig. Once in Africa, Merrin meets Father Francis (James D’Arcy), a representative from The Vatican, and Sarah (Izabella Scorupco). The archeological team has uncovered an ancient church buried underground which dates back to a time before Christianity reached that part of the world.

As Merrin begins to investigate the area, he learns that the locals are afraid of the dig site, and that there have been some mysterious occurrences in the region around the church. The evidence begins to point towards something supernatural happening around the excavation and Merrin realizes that he must recover his lost faith and prepare to battle the ultimate evil.

While perusing the chat forums on this very website, I often see posters debating about “bad” movies. For me, there are two kinds of “bad” movies. First, there are low-budget movies that never really stand a chance because of bad acting, bad story, bad lighting, etc. Then, there are those big-budget Hollywood films which have the luxury of offering name actors, nice sets, lush cinematographer, but still fail to be entertaining or satisfying. Exorcist: The Beginning falls into this second category, as this movie, with its rumored budget of $50 million is a true stinker.

It’s truly appropriate that a movie concerning the ultimate evil would commit what I consider to be the ultimate cinematic sin; Exorcist: The Beginning is boring. For the bulk of the film, nothing happens, save for Stellan Skarsgard wandering around African sets looking both concerned and confused. The story fro Exorcist: The Beginning was written by popular novelist Caleb Carr and James Cameron collaborator William Wisher, but the final screenplay was penned by Alexi Hawley, who has cobbled together a jumbled series of scenes in which little happens. When something does take place, the audience is typically in the dark as to what it has to do with the overriding story. During the final act, just before all hell breaks loose (literally), the film becomes a sort of whodunit?, as we (the viewers) are supposed to wonder which character is possessed by the evil. To be honest, up until that point, I hadn’t realized that the question was going to come up. One of the oddest things about Exorcist: The Beginning is that it really makes no connection to The Exorcist. If the viewer didn’t realize that Merrin is the character from The Exorcist, and let’s face it, most filmgoers don’t memorize character’s names, then they wouldn’t have a clue as to how this pitiful film relates to the horror classic.

While Exorcist: The Beginning purports to tell the origin of Father Merrin, the origin of the film itself is much more interesting. When the project was first announced, legendary director John Frankenheimer was attached to direct, but stepped down due to health issues. Then, Paul Schrader took the reins and shot the film. However, studio executives reportedly didn’t like his version and fired him, hiring Renny Harlin to re-shoot much of the film. As is his reputation, Harlin gives the movie a nice look and the finale is well-done, but he can’t overcome the ludicrously dull script and gives the movie no sense of suspense at all. Rumors abound on the internet that we will one day see Schrader’s version so what we may compare the two movies. I truly hope that this is the case, as I can’t imagine Schrader’s film being any worse.

Video

Exorcist: The Beginning possesses DVD courtesy of Warner Home Video. The film is coming to DVD in two separate releases, one full-frame and the other widescreen. For the purposes of this review, only the widescreen version was viewed. The film has been letterboxed at 2.35:1 and the transfer is enhanced for 16 x 9 TVs. The image is quite sharp and clear, and looks very good, as there is only a slight amount of grain visible on the picture. The colors are all very natural-looking and the daytime scenes are never overly bright and the nighttime scenes are never too dark. There are some trace haloes around the characters when they move, but they aren’t distracting, and there is no overt artifacting on the image. Overall, a nice video transfer.

Audio

If you think that the movie Exorcist: The Beginning is a let-down, wait until you hear the great audio which accompanies this bad movie. The DVD contains both a Dolby Digital 5.1 audio track and a DTS 5.1 track. Both of these tracks sound great, as they provide clear and audible dialogue with no audible hiss. The movie has a very nice sound design and these tracks make great use of the surround channels and subwoofer. During the few action scenes, the sound surrounds the viewer and does add a little something to the movie. The edge here goes to the DTS track, as it is crisper and provides a deeper bass sound, but both are very good.

Extras

The Exorcist: The Beginning DVD contains only a handful of extras. We start with an audio commentary from director Renny Harlin. This is an odd track, as Harlin is very open about the short amount of time that he had to complete the film (10 months) and points out flaws such as the crappy CGI in the movie. Yet, he never mentions the fact that he was brought in to fix Schrader’s film. I can only assume that he was told not to. Harlin also turns up in “Behind the Scenes”, an 8-minute featurette which contains on-the-set footage and comments from the film’s actors. The extras are rounded out by “Cast & Crew” bios and the “Theatrical Trailer” for Exorcist: The Beginning, which has been letterboxed at 1.85:1.

It could be argued that Exorcist: The Beginning isn’t necessarily a “bad” film, but a disappointing one. But, that would be splitting hairs, as the film is simply boring and not entertaining. Stellan Skarsgard does an admirable job in the film and director Renny Harlin certainly knows where to point the camera, but they can’t save a film which was damned from the beginning.
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DOWNLOAD MOVIE City of Angels Just $2.99 for a complete movie! No additional software or browser plug-ins required! You can play them for unlimited number of times whenever you want. Downloaded movies will work perfectly on any PC, DVD player, PDA etc.
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City of Angels Reviewed By Rob Gonsalves Posted 01/27/07 08:30:00

"Needless Hollywood dumbing-down of Wim Wenders." (Pretty Bad)

Why do so many people seem to want so badly to believe in guardian angels?To me, there’s something vaguely creepy and stalker-ish about the whole concept: invisible beings floating around, watching you and maybe giving you a kindly nudge every so often. Ick. Guardian angels sound like a plot devised by an Orwellian government so that we’ll gradually get used to, and even embrace, the idea of being spied on. (Now that might be an interesting movie premise. Call Oliver Stone.) The one angel movie that gets around my defenses is, of course, Wings of Desire – Wim Wenders’ acclaimed 1988 fantasy in which Bruno Ganz gives up his halo, becomes human, and wins the heart of beautiful acrobat Solveig Dommartin. A decade later, Wenders’ vision comes to us Hollywoodized — not to mention bastardized — in the new remake City of Angels, in which Nicolas Cage gives up his wings to be with surgeon Meg Ryan. There could hardly be a better illustration of Hollywood’s uncanny ability to suck all the brains out of a good idea. City of Angels begins as Wings of Desire does, with passing glances at random citizens (in Los Angeles instead of Berlin) whose thoughts we overhear. Wenders used the device to make us feel like isolated angels, doomed to eavesdrop on people but never communicate. The filmmakers here, director Brad Silberling (Casper) and scripter Dana Stevens, don’t sustain the angel’s-eye device. Whereas Wenders established black-and-white photography as the way angels see the world, this film is in lush color. In the remake, when an angel becomes human and marvels at the sight of his own blood — "Red! Red! Color!" — it makes no sense, since we’ve spent the movie seeing through his eyes and admiring John Seale’s lovely color photography. Wenders’ film was also about duality and splits of all kinds; its forbidding Berlin Wall (still standing when the film was shot) and characters with double lives (including Peter Falk playing himself playing a role in a movie) gave us a brooding sense of fractured existence. People go through life looking for wholeness, taking their flawed, painful humanity for granted. There’s also, of course, the eternal divide between the spirit and the flesh. City of Angels pays some feeble lip service to this last idea. Nicolas Cage, the angel protagonist, can’t feel or taste or smell anything. He yearns to be human so he can be with Dr. Meg, who is specifically looking for a guy who can feel, taste, and smell things, apparently. Somehow Meg is able to see Nicolas in her operating room, staring at her over the soon-to-be-dead body of a guy whose heart she’s fondling (this must be what Hollywood calls a "meet cute"). Soon she’s telling him how a pear tastes and he’s getting advice from a red-faced Dennis Franz as a former angel turned human. The spiritual pieties come fast and hard, and we get a bare-assed Dennis Franz running into the surf and a scene where Meg stabs Nicolas with a knife to see if he bleeds. If a woman stabbed me to see if I bleed, I’d want to be anywhere that she’s not. But no, Nic trades in his wings for his blade-happy sweetie. As always, Nicolas Cage keeps his end of the bargain; he commits heart-and-soul to a role no matter how stupid the movie is, and he makes you feel the emotional highs and lows of his newly human hero. In his early scenes, when he’s following Meg everywhere, he reminds you less of a creepy stalker than of a lost puppy looking for a warm lap to snuggle in. But after he turns human, City of Angels loses whatever humanity it had, regressing into pointless tragedy and manipulative tearjerking. I mean, even Wim Wenders didn’t feel compelled to whack Solveig Dommartin with a lumber truck, for Christ’s sake.We’ve reached a weird point in cinema history, where "uplifting" Hollywood romances are more depressing than solemn German art films.
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DOWNLOAD MOVIE Shaggy Dog, The Just $2.99 for a complete movie! No additional software or browser plug-ins required! You can play them for unlimited number of times whenever you want. Downloaded movies will work perfectly on any PC, DVD player, PDA etc.
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Shaggy Dog, The

I’m not sure "Who let the dogs out?", but this dog belongs to Disney.  Please, send it back.

Tim Allen (Christmas with the Kranks, Who is Cletis Tout?) stars as deputy district attorney Dave Douglas, whose latest case involves prosecuting his daughter’s biology teacher, who has been accused of setting an animal testing lab on fire.  The lab in question happens to be performing radical experiments using the genes of an apparently 300-year-old sheep dog from Tibet, hoping that splicing the gene into other animals will result in humans living vastly longer lives.  The dog escapes, gets semi-adopted by Douglas’ family, and promptly bites Dave, injecting him somehow with magic doggy genes that cause him to exhibit some very dog-like behavior before completely being transformed into a sheep dog himself.  Complications within Dave’s marriage and the animal rights case are compounded, followed by efforts by the ringleader of the animal testing facility, Dr. Kozak (Downey Jr., Good Night and Good Luck), to apprehend Dave for more sinister, grotesque tests.

Seriously, if you didn’t know that The Shaggy Dog is a remake combining two popular live-action Disney films, you’d read the above plotline and wonder how in the world such an awful idea for a family film could ever be made by a major studio.  Disney has obviously bought into the notion that people out there really find Tim Allen a funny enough physical comedian to want to see behaving like a dog.  Think again.  Tim Allen eating face-first into a bowl of cereal isn’t funny.  Tim Allen lifting his leg to pee isn’t funny.  Tim Allen chasing a cat across the street on all fours isn’t funny.  Heck, let’s face it, Tim Allen isn’t funny.

Every possible canine activity is explored, with the possible exception of Tim Allen humping a stranger’s leg, licking his own balls, or getting "knotted" with his wife during the lovemaking act.  Not that these five screenwriters and director would never think to do something like that (their individual previous efforts include low-brow features like Ready to Rumble, Bad Boys II, Daddy Day Care, and The Prince & Me), but being Disney, they obviously were shooting for no more than a PG rating.  I suppose given the level of bad taste they were already willing to explore, we should all be thankful for that restriction.  Having already endured the similar Rob Schneider vehicle, The Animal, I certainly didn’t want to see the same thing done all over again with an equally desperate Tim Allen.

Perhaps the worst aspect of this already difficult-to-stomach film happens to be the conception of the special effects.  It’s one thing to have to endure Tim Allen emerging from his dog-like state without any clothing on (speaking of, where does his clothing go?), but did all of the effects have to have a level of cheesy bad taste to them to make me feel queasy in my seat?  Watching snakes with bushy tails, dog-frogs, furry dog genes injected in bloodstreams, and sheep dogs with Allen’s eyes is about as disturbing to witness as any gore-laden horror film in recent memory.  What’s worse, none of these depictions of inhumane mutations are funny in the slightest fashion.

The Shaggy Dog isn’t the worst film of the year, but it may certainly rank as the toughest to have to endure for many that actually expect huge-budgeted releases featuring many big-name stars to be at least somewhat worthwhile.  Given the track records of everyone involved in this monstrous menagerie of disturbing sights and sounds, I suppose I should have braced myself by not eating for at least a half-hour before the movie, as my stomach was on the verge of turning at several times throughout the film.  Warning to parents: taking your children to this may result in an alert to child protective custody for possible abuse charges.

PETA members, you may like the anti-animal testing messages, but I have to disagree on one point; I know of at least one Shaggy Dog that deserves to be put to sleep.

Qwipster’s rating:
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DOWNLOAD MOVIE Helter Skelter Just $2.99 for a complete movie! No additional software or browser plug-ins required! You can play them for unlimited number of times whenever you want. Downloaded movies will work perfectly on any PC, DVD player, PDA etc.
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Helter Skelter
As the title suggets, it focuses almost soley on the famous murders in the
Tate house - interspersed with flashes of the preliminary court hearings
and
flash-backs to life on Spahn Ranch. These scenes at the ranch have an
authentic kind of feel - due to a mixture of stuff (supposedly) being shot
on the actual location and the film’s own low-budgetness that works in
it’s
favor… the actors all look and act like lost kids (although all are much
better looking than the majority of the real Family members). The
"documentary" footage the film purports to have seems isolated to one
scene
- a pretty good one, though: the hippie-rock-jam in the desert.. a real
far-out scene, man… It’s good and some of the Family actors wonder in
and
out of it to connect it to the rest of the film. But that’s it as far as
documentary footage goes. The seetings, however, have authenticity and a
sense of place that give a good, if limited, glimpse into the L.A. of the
time. The look of the film, in general, is really inspired - beautifully
shot with many creative choices that, sometimes, get a little TOO arty…
but, for such a seemingly low-budget movie - it does have a really
polished
look. (And a great soundtrack.. well scored and with good period-rock -
including Manson’s own recording of "Mechanical Man"…)
It does, however, have some major flaws - the hardest to get past
being
the complete lack of characterizations… not one person has a
personality.
No one is developed - not even Charlie. This leaves us with a film we can
only look at - there is no one to feel for - even the victims are only
that:
bodies that get victimized. In a way, it’s interesting - we don’t need or
want to feel a human connection to these killers - but, by stripping all
human-ness from everyone all we can do is watch. There’s very little to
FEEL, here - save a creepiness in the playing out of the murder scene. It
is brutal and flatly played - and, maybe, that was part of the point in
the
film… it does have a strangley haunting quality to it. There’s the
real-ness of the settings and Family group, the diquieting night drives up
the canyon - headlights on a dirt road - and the bleak, almost real-time
playing out of the murders, themselves - that linger after it’s over.
Also,
the unfamiliarity with any of the actors - none of whome seem to have done
any thing other than this - give it an even creepier, too-real
quality.
There’s a feeling that the filmmakers were trying to show a kind of
"facts as they’re known" at a time very close to the actual events - when
not all the facts were really known. This adhearence to what, supposedly,
happened; combined with it’s lack of characterization and lack of scope
outside of just the night of the murders - leave the film somewhat one
dimensional and, ultimately, drains it’s emotional impact.

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DOWNLOAD MOVIE Godfather, The Just $2.99 for a complete movie! No additional software or browser plug-ins required! You can play them for unlimited number of times whenever you want. Downloaded movies will work perfectly on any PC, DVD player, PDA etc.
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Godfather, The

The Godfather is a tough film to review, as it’s almost hallowed ground to some fans out there, and many others who might argue that it’s the greatest film of all time.  I’m not even going to bother getting into any such arguments for or against The Godfather except to say that it isn’t just damn good movie-making, it’s just damn good storytelling.  In fact, one can trace the roots of this kind of storytelling if you go back some ways, back before the Italians to their predecessors, the Romans, and while you’re at it, the Greeks.  The Godfather is a modern day epic, and, if you’ll indulge a personal hyperbole, I would go so far as to compare it to film what "The Iliad" is to literature.  Timeless.

Marlon Brando (Superman, The Score) delivers one of filmdom’s most memorable performances as Don Vito Corleone, aka the Godfather, who heads one of New York’s leading crime families, offering favors to those who ask with respect in return for a favor somewhere down the road.  He pulls strings from lowly morticians all the way up to police, judges, and politicians.  The good times for his family begin to turn sour when the trafficking of narcotics begins to infiltrate organized crime, which Don Corleone wants nothing to do with.   The hit is put out for Vito, who is considered a dinosaur in his ways, but the job is botched and now vengeance pulls the family together in respect and defense of the fallen Don.  His sons try to keep the family together, and the business as well, while also seeing to it that those who disrespect the family pay for it with their dear lives.

The Godfather is a resounding success on every level.  Although many options were considered in terms of casting, some of them falling through, you can’t really argue with the end results, especially with Brando and Pacino (Serpico, The Godfather Part II) for portraying their respective roles with the complexity required.  Although Pacino would come to be known as one of the best actors in the business, most memorably when he cuts loose, one can also see how equally fine he is when having to contain himself, and in no other role does he say so much from utter silence as he does as Michael Corleone.  You can see the aloofness to the family business in the opening wedding scene, to the resolute vengefulness when Don Vito is gunned down, to the cold-hearted businessman he would later become, and all the while we know these things without having to be told. 

Brando plays Don Vito, not as the country’s most dangerous criminal, but as a caring family man who does what he does in protection and not out of avarice.  The scariest realization comes when we realize we actually have come to care for this man who has murdered and bribed his way to power, and the conflictions within us only serve to bolster what a well-developed and brilliantly portrayed character he is.   The rest of the cast is just as fine (well, ok, James Caan (Rollerball, Bottle Rocket) would not have been my choice for Sonny), giving just the right amount of flavor to what could have easily been cookie-cutter parts.

However, the real lion’s share of the credit goes to Francis Ford Coppolla (The Rainmaker, Apocalypse Now) for his vision and flawless directorial instincts.  Although the film is a long three hours, there is so much detail that it’s astonishing how he was able to fit so much in, while also taking time to for poignant moments like the wedding, the baptism, and a moving death, while also ingeniously incorporating them all into the main themes of the film. 

I could go on forever on this, so I had better not attempt it.  I will say that I especially am impressed with is how Coppola is able to resolve whole side-plots with a mere sentence or gesture.  We know Johnny Fontane (Martino) gets his starring role when the Don gets flowers and we know Michael’s broken cheekbone has been fixed when Fredo (Cazale, The Deer Hunter) tells him that the doctor had done a fine job.  By tying all of these loose ends up without the need for screen-time, Coppola can then more finely key us into the characters and their development as the story progresses.  The Godfather is the perfect blueprint on how to tell a story, regardless of genre.

The Godfather is filmmaking at its best, and is recommended for adults seeking an intelligent drama with depth and emotion.  Like the classics of Ancient Greece and Rome, this is a tale on the level of the gods and mortals, and we can only but sit and watch as the titans battle for supremacy.  Hubris, pathos, justice, and gravitas are all in the mix in Coppola’s epic derived from the book by Mario Puzo.  It’s a story for the ages.

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