With incredible abandon and ambition, Coppola’s work, infused with Roman allegory, is staggering in terms of craft despite its rather clunky storytelling, as a time-controlling architect hopes to rebuild a new utopian city that is future-looking.
When it is not weird and dark, its gaudiness might annoy, but there is a method to the madness as Coppola pulls every trick in the cinematographic and editing handbook to deliver a studio movie that no one would probably dare try to make in this vein again.
Coppola’s follow-up is even more ambitious in terms of narrative structure as he seamlessly explores themes of power, family and betrayal across time in one of cinema’s most astonishing sequels.
An early horror B-movie by Coppola, produced by Roger Corman, with effective mood-setting but an undercooked story.
A skimpy storyline and uninteresting lead characters mar this artistic antecedent to ‘Moulin Rouge’ and ‘La La Land’.
A feverish attempt at exploring the nature of wasted youth with strong visual and aural stylings that can’t quite hide its meandering narrative.
One of Coppola’s weakest efforts in what is a heavy-handed and muddling mess of a film, despite the good performance by Tim Roth.
Good but not great, this final film of the ‘Godfather’ trilogy should still please the more generous fans.
This is indisputably one of the absolute finest war films in the history of cinema.
Eternality Tan 