The Godfather Part III (1990).
Paramount Home Entertainment
The Godfather (1972) and its 1974 sequel,
The Godfather Part II, exist on the same “unassailable” level of cinema history that s typically reserved for only a handful of other films, including
Citizen Kane. These are the rare movies that carry the kind of reputation that few people would ever dare challenge. Perhaps that’s why a lot of people, especially the ones loudly declaring
The Godfather s greatness, seem to ignore the very existence of
The Godfather Part III.
Francis Ford Coppola returned to the well of his greatest commercial and critical success in 1990 for
The Godfather Part III, and it promptly became an unwelcome addition to an accomplishment that by all accounts was already perfect. Much of the negative attention was directed at the fact that Coppola cast his daughter Sofia (who was not then or now an actor) in a pivotal role, and generally repeated too many elements of its predecessors to com
12/30/2020
Lincoln rallies through unprecedented year
Lincoln graduates Erin McGinness, Ashley Thibault, Abbey O’Hern, and Kayla Piggott were preparing for the Lincoln High School Graduation Car Parade that took place on June 17. Similar to most schools this year, the Class of 2020 at Lincoln High School had to alter their traditional graduation ceremony due to the pandemic. The students also had a virtual graduation. (Breeze File photo by Charles Lawrence)
LINCOLN – It can be hard to imagine now, but 2020 began as all years do, with the promise of a new beginning.
Our daily lives were collectively changed in early spring, when the arrival of COVID-19 halted most activity, wiped toilet paper off the shelves and forced families to quarantine.
Itâs a little better now.
In âThe Godfather Part III,â recut and retitled âThe Godfather Coda: The Death of Michael Corleone,â the flashes of greatness periodically illuminate the general, frustrating fog of not-badness. Never was there a sequel so unlucky in following such singular predecessors. And rarely has a director tested the limits of reshaping his own material across multiple versions.
The third âGodfatherâ movie never had a reason for existence beyond its financial one. The 1990 film reteamed director Francis Coppola with his co-writer, Mario Puzo, whose pulp bestseller âThe Godfatherâ got the whole thing going in 1969. Written by Coppola and Puzo in a collective sweat, in between losing bouts at the casino tables in Reno, Nevada, the âGodfather IIIâ dialogue keeps coming back to money worries, debts and obligations. Itâs strictly business, not personal, following the old Corleone ethos. The storyline fixates on