The Godfather: Part III (1990)

I find it's best to view Part III similar to how Dir. Coppola reportedly does, as an epilogue to the Godfather's story as told in Parts I (1972) and II (1974).
A mournful tone segues into the familiar large family gathering, a setting wherein the current Don is lavished with honours and respect. His move into more legitimate business affairs gives the film a different kind of edge, but it's one that's dulled by a screenplay that feels stretched thin. In addition, the appointed successor to the Corleone name is never fully able to step out of the shadow of the characters/actors that came before. Even when considered as a counterpoint, it's not as satisfying as it could've been.
Pacino and Shire are great (and for the record I don't think Sofia deserved the criticism she received), but the highlight is the superb finale, staged at an opera it is itself a beautifully orchestrated piece of pure drama.

3 accounts settled out of 5

FINDING DORY [2016]

13 years after the wonderfully crafted Finding Nemo, Disney, Pixar & director Andrew Stanton make a much-anticipated return to their underwater world with Finding Dory.
The lovable blue tang fish with a short-term memory sets out to find her long lost parents leading her to a dizzying adventure in a Californian aquatic park where she meets all sorts of weird and wonderful characters.
I entered into the film a little cautious, thinking it couldn't stand up to the original that didn't really need a sequel but after an awkward first 15 minutes, I found myself at ease and constantly laughing at the story unfolding before me.  It manages to pack in a profoundly emotional punch, some hilarious moments for all ages and enough warmth to forgive any of it's very minor short-comings.

4 septopus out of 5

The Godfather: Part II (1974)

Part II is a sequel, as you’d expect, but also a well-timed prequel showing how a young Vito Corleone (played by Robert De Niro) rose from village youth to absolute power, attaining the position the films are named for. It’s so good that it could've easily been the beginnings of a standalone film, but perhaps then the dramatic contrasts with the later years would've been lessened.
In the present, the current Don faces challenges from a number of different directions, some a product of the changing times and some a product of things unchanging. He’s away from the family home often, but the weight of duty isn't something that can be boxed up and left behind.

5 family ties out of 5

The Godfather (1972)

Even though Mumble Brando sounds like a man with a gob full of marbles, his diction literally governs the first part of Coppola's Mafia trilogy. The Godfather's words linger, influencing scenes he isn't even a part of. His voice whispers innocuous assurances while his persona threatens: all who come seeking Don Vito's aid leave thinking themselves fortuitous but each one leaves bent to the Don's will, crippled by a future repayment favour.
The remainder of the film is electrically charged by Pacino and Caan. For both men the Corleone name opens doors and closes coffin lids.
Coppola is self-indulgent in the first half hour but assuredly precise with the story and with his direction once things really kick off.

4½ offers that can't be refused out of 5