The Untouchables (1987)

Director: Brian De Palma

Cast: Kevin Costner, Sean Connery, Andy Garcia, Robert De Niro

Have I Seen it Before: Oh, sure*.

Did I Like It: I’ve been on a bit of a gangster movie kick as of late, having watched all of The Godfather films recently**, and Lora has taken to dismissing them as “Pacino De Niro Scarface movies.” I don’t know if I’d be willing to back up that assertion, but she came in and out of the room while I was watching the film, and eventually summed up her criticism of stray scenes by saying: “This film is kind of corny.”

Here, she might be on to something. Throw out a couple of truly tension-filled scenes (and even those are cribbed from Eisenstein; it’s not a vice to go watch a silent movie, folks) and there’s a movie occasionally fixated on being strangely old-fashioned. The question then becomes is that quality an earnest attempt to bring the movies back to something resembling a cop show from the 50s? Or is it a stealth commentary on that earnestness so present during those older days? I’m tempted to lean towards the latter. How could we not chuckle at a scene where Ness (Costner) and his wife (Patricia Clarkson, in her feature debut) muse about naming their new infant son after J. Edgar Hoover? Then again, how can we not collectively roll our eyes in any scene of domestic bliss when Morricone’s score positively groans under the weight of its sentimentality?

Then again, how could a movie—if even occasionally—screw up the use of a Morricone score? Is it possible I don’t like this movie… No. I do. I do.

I struggle mightily with expressing why I don’t mind all of those problems, but I don’t.

*I was definitely tempted at that moment to impart an anecdote where I once made a political speech based mostly on quotes from Sean Connery in this film. I won’t tell that story but will say: Don’t do that, but if you do, don’t worry about it. Hardly anyone will get it.

**Director’s cut on Part III, I’m not an animal.

Ocean’s Eleven (2001)

Director: Steven Soderbergh

Cast: George Clooney, Matt Damon, Brad Pitt, Andy Garcia

Have I Seen it Before: Oh, sure.

Did I Like It: What is the goal of a movie like this? Soderbergh is at the helm, so one might think—without any other information—that something highbrow is in the offing. But no, this film has no ambition greater than the original Ocean’s 11 (1960). Be as cool as possible with as many stars as you can get in the same room at the same time.

Thus, the movie might be the most successful film Soderbergh has ever made.

The film refreshed the heist picture, injecting it with enough of the same action which made the Mission: Impossible franchise such an action staple. Come to think of it, that series didn’t really get its stuff together until several years after this movie was release. The influence probably goes the other way, in all honesty. I started out this review not needing more from the film than what it delivers at face value, but it probably has a lot more to answer for in the modern sense of what action movies have become.

But it’s the little things which have brought me back to the film over and over again. Has there ever been a better way to order a drink than when Clooney orders whiskey? He drops in on Tess (Julia Roberts, overpowered in the film, but I’ve never thought she had much charisma in anything, so it actually works out for the best) and orders a whiskey and a whiskey. I just... I don’t even like whiskey, and if I ever live to be half as cool as that, I’ll have used my time wisely.

Maybe more independently-minded purveyors of more complicated pieces of cinematic fare. Soderbergh here might be slumming it, but with his perfunctory work, he does far better than most filmmakers content to just work in popcorn fare. Maybe Ingmar Bergman should have made a Rock Hudson/Doris Day comedy. Sergei Eisentstein should have made a Chaplin comedy. Maybe Martin Scorsese

No, that shouldn’t happen. This movie’s still worth a look if you haven’t taken it in already, and it’s better than you probably remember.

The Godfather: Coda: The Death of Michael Corleone (2020)

Director: Francis Ford Coppola

Cast: Al Pacino, Diane Keaton, Andy Garcia, Sofia Coppola

Have I Seen it Before: It just came out, so no... But then again, how different can it be from The Godfather, Part III (1990)?

Did I Like It: I approach this with the same uncertainty that I approached the multiple cuts of Apocalypse Now (1979), especially since the original films in both cases are ones I have certainly seen before, but don’t know as well as I do, say, the other Godfather films. 

Do I rewatch the original cut first so I’m more aware of the contrast, or do I watch the film on its own?

I opted for the latter, and I think I’ve come to a conclusion that yes, this new cut is an improvement, but only in the ending. 

That’s not dismissing the qualities of this new version. The ending of the original film was likely my biggest problem with the original film. The often flailing main story of the film concludes, and we cut to Michael Corleone (Pacino) as an old man, living in Sicily. And then he dies. Just tacked on there, completely divorced from the movie that preceded it. 

In this new version, we do see Old Man Michael, but it cuts away before he dies, with a final title indicated that he would live for a while, and never be able to forget how he sold his soul and got the exact opposite of everything he wanted. It’s an even more tragic ending than what was offered, even if it means that the film is about many things, but the death of Michael Corleone is not one of them.

The rest of the film is ultimately just the same as its progenitor. The plot is fine, but Sofia Coppola—who would be the first to admit she had not ambition or desire to become an actor—is the weak link in the chain. The ultimate question becomes, do I recommend this new film? If you have never seen any version of the third Godfather film, then I would recommend this version over the original cut. If you are a fan of the series, then it’s worth a viewing, although now I have the movie twice on Blu Ray, when once would have done. If you’re familiar with the original, and interested to see how much the film has changed, I’ve done the hard work for you.  Don’t buy the hype that the beginning is all that different—it isn’t. Just stop your Blu Ray of the original cut before Michael keels over, and you’ll get the idea.