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

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

Prophecy (1979)

Sent to study claims of ecological contamination, a cynical doctor and his pregnant wife (Robert Foxworth and Talia Shire) not only encounter disastrous and deadly effects to surrounding wildlife and the Native American tribe inhabiting the area, but a towering mutation in the form of a crazed and deformed bear. Its take on environmental issues is one rarely seen in horror cinema. Compared to most similar films which use nuclear waste as a device to simply create monsters, it is intelligently written with sound cause-and-effect. At the same time, I found the scientific weight fascinating as well as frightening. Writer David Seltzer deftly based the script on the tragic story of Minamata, Japan. The mutation's onslaught in the third act is poorly handled with choppy and evasive editing revealing sfx limitations. Yet despite this, the suspense holds up pretty well until the conclusion. But unreconciled plot points left me somewhat disappointed.

3 exploding sleeping bags 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

Rocky V (1990)

The Rocky series attempts to go full circle, returning the retired Stallion to his roots while acknowledging that changes have occurred since his rise to fame. It’s a decent idea, but it’s barely watchable at times. Seeing an absorbed, aged fighter trying to live vicariously through someone else is depressing for all the wrong reasons. We finally get to see him be a father for a while, too. However, the downside of that is having an angsty teen’s story sandwiched between the square peg in a round hole scenario.
The money-hungry manager in his limo is like a parody of a parody.
And what's worse, movie fight scenes are an art unto themselves, but in Rocky V they’re like blindfolded finger-painting with boxing gloves on.

2 hits for the home team out of 5

Rocky IV (1985)

I must've accidentally pickled up Rocky IV: Musical Montage Edition by mistake. Either that or the film single-handedly tried to define everything that was bad about sports movies in the 80s. It’s a flashy, spangly disaster that has many of the proper ingredients in place elsewhere, but the resultant pie fails to satiate. A dressing of political bullshit doesn't help.
Dolph Lundgren as Rocky’s opponent, Ivan Drago, gets to be one half of a USA Vs Russia approach that was handled clumsily. It was the first proper role for the Swedish actor, but he gets very little dialogue. He’s a puppet, whose on-screen wife would soon become Stallone’s real world wife.

2½ loud personalities out of 5

Rocky III (1982)

Being on top makes you a target, so all eyes are on Rocky, including the fierce, burning gaze of Clubber Lang. Clubber wants a shot at the title and he’s got the fire to make it happen. Rocky is ill-prepared, like a writer without a muse, but help comes from an unexpected source.
Before it gets good we have to suffer the farce of Rocky Vs Hulk Hogan and the woeful dialogue that plagues about half the film.
Burgess being the gruff manager is always fun, but what makes it worth seeing is the legendary Mr T. It’s the best performance I've ever seen him give and, in all honesty, he’s perfect for the role.

3 stars on the platform out of 5

Rocky II (1979)

A sequel to Rocky (1976) that was written, directed by and starred Sylvester Stallone. At first it seems as if he didn't do himself any favours by reusing the emotional high of the first film’s ending in the opening sequence, but the contrast of what follows sets the mind straight.
The fall back to reality is hard for the Stallion, who struggles with old fashioned values and the overpowering need to be a manly-man.
Heavyweight Champion Apollo Creed is sore, his pride not just his face, and wants a rematch, but Rocky rolls to the sound of a different bell.
In some ways it’s too similar to the original, but leave enough time between the two and you’ll feel the full impact of the story. The last half hour is superb stuff, and I don’t even like boxing!

4 greasy snarls out of 5

Cold Heaven (1991)

Dir. Nicolas Roeg is skilled at creating expectation and unease, but his films can be challenging. Cold Heaven ticks those boxes.
At the centre of events is a woman struggling with bereavement and a guilty conscience. It’s a downbeat journey that offers little in the way of space to breathe for a very long time. It’s one of the many films that I can see the merits of but have no desire to ever revisit. Someone who holds, or once held, religious beliefs may feel differently about developments and will surely be better equipped to sympathise with the protagonist.
The cover art is slightly misleading; there are some creepy moments but don't expect the kind of horror that it implies.

2½ haunted thoughts out of 5

Rocky (1976)

Despite being associated with boxing, there's very little in-the-ring action, and when we do get there it’s embarrassingly fake. Nevertheless, the film is still a roaring success. It gave Stallone an iconic role. The not very bright boxer, the thick as shit underdog, was something he personified beautifully.
The themes of self-respect and the need to prove a point, not to the world, that’s merely a by-product, but to Rocky himself are what drive the narrative in the right direction.
It was also written by Stallone, so credit is due for that.
The supporting cast are equally impressive, giving the story extra heart and deeper emotion. It's a film that deserves its lauded status.

4 because he’s a contendaaah out of 5