The Godfather

United States, 1972 
Running Length: 2:51 
MPAA Classification: R (Violence, mature themes, language, brief nudity) 
Theatrical Aspect Ratio: 1.85:1

Cast: Marlon Brando, Al Pacino, James Caan, Robert Duvall, Diane Keaton, Talia Shire, Al Lettieri, Sterling Hayden, John Cazale 
Director: Francis Ford Coppola 
Producer: Albert S. Ruddy 
Screenplay: Francis Ford Coppola and Mario Puzo based on the novel by Mario Puzo 
Cinematography: Gordon Willis 
Music: Nino Rota 
U.S. Distributor: Paramount Pictures

Rarely can it be said that a film has defined a genre, but never is that more true than in the case of The Godfather. Since the release of the 1972 epic (which garnered ten Academy Award nominations and was named Best Picture), all "gangster movies" have been judged by the standards of this one (unfair as the comparison may be). If a film is about Jewish mobsters, it's a "Jewish Godfather"; if it's about the Chinese underworld, it's an "OrientalGodfather"; if it takes place in contemporary times, it's a "modern dayGodfather."

If The Godfather was only about gun-toting Mafia types, it would never have garnered as many accolades. The characteristic that sets this film apart from so many of its predecessors and successors is its ability to weave the often-disparate layers of story into a cohesive whole. Any of the individual issues explored by The Godfather are strong enough to form the foundation of a movie. Here, however, bolstered by so many complimentary themes, each is given added resonance. The picture is a series of mini-climaxes, all building to the devastating, definitive conclusion.

Rarely does a film tell as many diverse-yet-interconnected stories. Strong performances, solid directing, and a tightly-plotted script all contribute to The Godfather's success. This motion picture was not slapped together to satiate the appetite of the masses; it was carefully and painstakingly crafted. Every major character - and more than a few minor ones - is molded into a distinct, complex individual. Stereotypes did not influence Coppola's film, although certain ones were formed as a result of it.

The film opens in the study of Don Vito Corleone (Marlon Brando), the Godfather, who is holding court. It is the wedding of his daughter Connie (Talia Shire), and no Sicilian can refuse a request on that day. So the supplicants come, each wanting something different - revenge, a husband for their daughter, a part in a movie.

The family has gathered for the event. Michael (Al Pacino), Don Vito's youngest son and a second world war hero, is back home in the company of a new girlfriend (Diane Keaton). The two older boys, Sonny (James Caan) and Fredo (John Cazale), are there as well, along with their "adopted" brother, Tom Hagen (Robert Duvall), the don's right-hand man.

With the end of the war, the times are changing, and as much as Don Vito seems in control at the wedding, his power is beginning to erode. By the standards of some, his views on the importance of family, loyalty, and respect are antiquated. Even his heir apparent, Sonny, disagrees with his refusal to get into the drug business. Gambling and alcohol are forces of the past and present; narcotics are the future. But Don Vito will not compromise, even when a powerful drug supplier named Sollozzo (Al Lettieri) arrives with promises of high profits for those who back him.

Don Vito's refusal to do business with Sollozzo strikes the first sparks of a war that will last for years and cost many lives. Each of the five major mob families in New York will be gouged by the bloodshed, and a new order will emerge. Betrayals will take place, and the Corleone family will be shaken to its roots by treachery from both within and without.

The Corleone with the most screen time is Michael (it's therefore odd that Al Pacino received a Best Supporting Actor nomination), and his tale, because of its scope and breadth, is marginally dominant. His transformation from "innocent" bystander to central manipulator is the stuff of a Shakespearean tragedy. By the end, this man who claimed to be different from the rest of his family has become more ruthless than Don Vito ever was.

Despite the likes of Serpico, Dog Day Afternoon, Scarface, ...And Justice for All, and Scent of a Woman on his resume, Pacino is best remembered for the role he created in The Godfather (and subsequently reprised in two sequels). While this is not his most demonstrative performance - indeed, he is exceptionally restrained - the quality of the script makes Michael Corleone notable.

Next to Humphrey Bogart's Rick from Casablanca, Oscar winner Marlon Brando's Don Vito may be the most imitated character in screen history. The line "I'm gonna make him an offer he can't refuse" has attained legendary status, as has the entire performance. With his raspy voice, deliberate movements, and penetrating stare, Brando has created a personae that will be recalled for as long as motion pictures exist.

Don Vito is a most complicated gangster. In his own words, he is not a killer, and he never mixes business with personal matters. He puts family first ("A man who doesn't spend time with his family can never be a real man") and despises displays of weakness. He understands the burden of power, and his wordless sympathy for Michael when he is forced to assume the "throne", is one of The Godfather's most revealing moments (about both father and son).

The Godfather had three Best Supporting Actor nominees, all well-deserved. The first was Pacino (who probably should have been nominated alongside Brando in the Best Actor category). The other two were James Caan and Robert Duvall. In a way, it's surprising that Duvall wasn't passed over. His presence in The Godfather isn't flashy or attention-arresting. Like his character of Tom Hagen, he is steady, reliable, and stays in the background. Not so for Caan's Sonny, whose demonstrative and volatile personality can't be overlooked.

Family responsibility. A father's legacy. The need to earn respect. The corrupting influence of power. These are some of the ingredients combined in Francis Ford Coppola's cinematic blender. They are themes which have intrigued the greatest authors of every medium through the centuries.

Although the issues presented in The Godfather are universal in scope, the characters and setting are decidedly ethnic. Even to this day, there is an odd romanticism associated with New York's Italian crime families. The word "Mafia" conjures up images of the sinister and mysterious - scenes of the sort where Luca Brasi meets his fate. Francis Ford Coppola has tapped into this fascination and woven it as yet another element of the many that make his motion picture a compelling experience.

We come to The Godfather like Kay Adams - outsiders uncertain in our expectations - but it doesn't take long for us to be captivated by this intricate, violent world. The film can be viewed on many levels, with equal satisfaction awaiting those who just want a good story, and those who demand much more. The Godfather is long, yes - but it is one-hundred seventy minutes well-spent. When the closing credits roll, only a portion of the story has been told. Yet that last haunting image (Kay's shock of recognition), coupled with Nino Rota's mournful score, leaves a crater-like impression that The Godfather Part II only deepens.

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Mummy 3gp

I haven't seen the previous two movies in the Mummy series, although people have recommended them to me as rollicking old-fashioned action-adventure movies, from the same Saturday-afternoon-matinee roots as the Indiana Jonesseries -- not exactly brain teasers, but good silly fun. The good news is that if you too haven't seen the preceding movies, you can watch The Mummy: Tomb of the Dragon Emperor without fear of getting confused or lost or not understanding the recurring characters. The bad news is that regardless of whether you've watched the other films, the third Mummy entry is a headache-inducing mess that piles on unimpressive special effects to stretch a slight and often incomprehensible storyline.
The movie begins with an extended backstory: the history of the Dragon Emperor from thousands of years ago, in which a ruthless tyrant (Jet Li) bargained with an infamous witch (Michelle Yeoh) in his ambitious drive to seek immortality. The backstory, narrated in a manner befitting the History Channel, goes on for far longer than necessary. (Hellboy II did this so much better and faster, and with cool puppetry too.) It's a full 10 minutes before the story begins and we encounter the leads from the previous Mummy films, Rick O'Connell (Brendan Fraser) and his wife Evelyn (Maria Bello this go-round), who have retired from the action business and are trying to lead humdrum lives in the English countryside. 
However, they're lured back into their Nick-and-Nora-wannabe roles to deliver an artifact to China, where their grown-up son Alex (Luke Ford) is secretly excavating an ancient emperor's tomb ... guess whose tomb that might be? Of course there's a curse, and a giant diamond, and Evelyn's brother Jonathan (John Hannah) from the previous two films just happens to be running an Egyptian-themed nightclub in Shanghai so he's pulled back into the action too. Next thing you know, the whole crowd is out to stop the ancient Emperor mummy (who is more like one of the cursed Pirates of the Caribbean characters than a traditionally embalmed mummy) from regaining all his powers of immortality and raising his invinciblegolden clay army that will take over the world. 
The movie tries to entertain us with a series of daring escapades and breathtaking spectacles, but unfortunately these attempts fall far short of their aspirations. A long chase sequence across Shanghai during Chinese New Year is meant to be a breakneck adventure, but the camera careens so wildly and awkwardly that I lost track of the action -- wait, where did Rick go? What's that the emperor is throwing ... bits of his face? Later in the film, the CGI effects descend upon the storyline with a vengeance, and everything looks so similar and so fake that when a character exclaims "Shangri-La!" you want to murmur, "it's only a model." And let's not discuss the eyeroll-inducing CGI Yeti. 
But the CGI isn't the weakest and most damaging part of The Mummy: Tomb of the Dragon Emperor -- that honor goes to the screenplay. The actors sell the dialogue as capably as they can, trying to emulate the snappy lines and easy wit of 1930s romantic comedies or at least classic action films. Unfortunately, the lines are so trite and dumb and unfunny that they elicit puzzlement rather than humor. Even Maria Bello's Emma Peel-like delivery can't save these lines. The film also relies on jokes that are just plain dumb, like a barfing yak. Other moments that might be funny with the right timing often fly by in the middle of one of the frenetic action sequences and we don't get time to register the gag, much less to laugh. 
During the film's climactic fight scenes, as CGI tepidly battles CGI, one scene lights up the screen briefly. Jet Li and Michelle Yeoh's encounter involves no computer-generated creatures, and is shot not at hyperspeed but in slow motion. The exaggerated motions a la Crouching Tiger, Hidden Dragon seem positively organic in comparison to the rest of the film. It's a lovely moment ... and then we cut to more cliched one-liners and uninspired effects. I don't understand why you'd cast Jet Li in a role that wastes his great screen presence by covering him in bad special effects most of the time, when he's far more compelling in his own skin. In fact, I would love to see the entire cast in a better movie with a stronger script. 
It's hard not to compare this movie to Hellboy II for more reasons than the similar prologues, which made me wish I could sneak over to an adjacent theater and watch the Guillermo del Toro film again. Both movies are about a villain who intends to unleash an invincible inhuman army upon the world. However, the elf-prince in Hellboy II at least seems to have an understandable reason. Both movies feature main characters trying to sort out relationship problems at the same time they're battling forces of evil. But the difference there is key -- the characters in Hellboy II had more emotional depth, and their relationships with each other and with humanity were what ultimately drove the film. In The Mummy: Tomb of the Dragon Emperor, the characters are glorified cardboard cutouts, and it's hard to care about why they're all bickering -- the action of the film doesn't reflect or tie into the emotional conflicts. 
At the screening I attended for The Mummy: Tomb of the Dragon Emperor, one person in my row seemed to be enjoying himself thoroughly in the audience: a five-year-old who hadn't seen enough good action-adventure films to feel jaded by this tired retread. But if you're too old for kindergarten, you might want to skip this movie and catch Hellboy II instead. Or rent a good Jet Li film, or even revisit Raiders of the Lost Ark. I've been pleasantly surprised by a number of films this summer that were more fun than I might have expected, but this movie was an unfortunate letdown.

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Die another day 3gp

In DIE ANOTHER DAY, the 20th James Bond adventure, 007 (Pierce Brosnan) gets off to a rough start when he is captured and subsequently tortured during an assignment in North Korea. When the suave secret agent is eventually liberated, he embarks on a dangerous mission to Cuba that involves tracking a terrorist named Zao (Rick Yune). There, 007 encounters Jinx (Halle Berry), a formidable and alluring fellow spy. Soon Bond is back in England following a mysterious trail that leads to Gustav Graves (Toby Stephens), a flamboyant diamond mogul. After a rather bloody introduction, Graves invites 007 to Iceland, where he plans to unveil his enigmatic Icarus project. Before long, Bond and Jinx are reunited and battling Graves, Zao, and other villains bent on world domination. With this Bond installment, directed by Lee Tamahori, 007 catches up with the 21st century, and the results are grittier and more explosive than ever before. Although it begins as one of the darkest and most violent Bond films, the intense mood of DIE ANOTHER DAY is counterbalanced by typically clever and funny moments. Brosnan is in fine form as the iconic hero, while Berry shines as the immediately likeable Jinx. Stephens and Yune make excellent bad guys, and the rest of the cast--including Judi Dench, John Cleese, Rosamund Pike, and Michael Madsen--provide key supporting roles. With its hi-tech gadgets and special-effects-laden set pieces, DIE ANOTHER DAY clearly has its eye on the future, but in numerous scenes it also lovingly embraces the past, placing the film in the upper tier of Bond movie

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Da Vinci kode 3gp

There's no code to decipher. Da Vinci is a dud -- a dreary, droning, dull-witted adaptation of Dan Brown's religioso detective story that sold 50 million copies worldwide. Conservative elements in the Catholic Church are all worked up over a plot that questions Christ's divinity and posits a Vatican conspiracy to cover up Jesus Christ's alleged marriage to Mary Magdalene and to drive all things feminine from the church. Here's the sure way to quiet the protesters: Have them see the movie. They will fall into a stupor in minutes. I know it bored me breathless.

The only true controversy that remains is where you stand on the long hair Tom Hanks grew to play Robert Langdon, the Harvard prof who specializes in symbols (the movie -- like the book -- is loaded with them). Hint: Keep your eye on the Holy Grail. There's been a grisly murder at the Louvre, which plays itself, by the way, and looks lovely. Not lovely is Silas (Paul Bettany), a crazed albino monk who'll whack a nun to get his hands on the Grail -- that is, when he's not whipping himself with a fervor unseen since Mel Gibson's The Passion of the Christ. Bettany's rabid overacting seems to inspire Hanks to take the opposite tack. Hanks remains disturbingly unruffled, even when he is framed for the monk's crimes and goes on the run from France to England with Sophie Neveu (Audrey Tautou), a French cryptologist whose curator grandfather was the murder victim.

Got that? Didn't think so. But you will as the plot plods on. Da Vinci's Mona Lisa offers the first of many clues as the couple tries to evade French police captain Bezu Fache (Jean Reno), a member of Opus Dei, a conservative Catholic sect with a hidden agenda. Vatican spokesman Archbishop Angelo Amato has called the book "stridently anti-Christian." Hanks, in an interview, came closer to the mark by calling the fictional story "hooey" that is not meant to be taken seriously.

How to apportion that blame for the movie's inertia? Start with screenwriter Akiva Goldsman (an inexplicable Oscar winner for A Beautiful Mind), who manages to eradicate every ounce of suspense, spirituality and erotic fire from Brown's novel. Point the finger at director Ron Howard (also an inexplicable Oscar winner for A Beautiful Mind) for playing it so safe that the film feels embalmed. The acting is either hammy (Bettany) or nonexistent (Tautou, so good in Amelie, so charmless here). Even the great Ian McKellen, cast as Holy Grail expert Sir Leigh Teabing, is reduced to nonstop bloviating, only alleviated by the occasional hint of mischief in his eyes. Instead of dialogue, Goldsman has written huge globs of exposition. Sir Leigh will yak about the concept of the "sacred feminine." Sophie will say, "I don't follow." And Sir Leigh will pick up the thread with a slide show that reveals a mystery woman visible in Da Vinci's The Last Supper. And Robert will add to the blabfest. And so on and on and on.

One of the rules of solid suspense filmmaking is: Show, don't tell. Howard's film is all tell with a few car chases thrown in. In rough, grainy flashbacks he reveals glimpses of the church's bloody history. There's even a second of a sex ritual involving Sophie's grandfather, but Howard turns the camera away as if he's prying. Has a controversial novel ever taken a more cautious journey to the screen? The book's vulgar energy evaporates in holy smoke.

Also missing in action is the romantic spark between Robert and Sophie that Brown provided in the novel. All that Hanks gives Tautou is a fatherly hug and a kiss on the forehead. As the movie gets swallowed up in its own stilted verbosity, I kept thinking that it would work better as one of those audiobooks. Just don't listen to it while driving. You might get drowsy and hit a tree.

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Cars Hollywood 3gp Movie

Having fallen in love with a bunch of computer-animated, anthropomorphized vehicles who express emotion with eyes made from windshields and smiles from metallic front grills, I do believe the exemplary Pixar team who made the beguiling comedy adventure Cars could draw a mote of dust and a pair of socks and turn them into characters worth caring about. I also bet that any story the Pixarites came up with about dust and socks (with John Ratzenberger lending his voice to the supporting role of the shoelace) is bound to be more rewarding than 90 percent of anything coming out of Hollywood Blockbusterville this summer. As it is, this witty charmer of an automotive adventure — part catnip for NASCAR enthusiasts, part nostalgia trip for fanciers of Route 66 and Paul Newman — features a 1951 Hudson Hornet, a rusty tow truck, a hippy-dippy 1960 VW bus, and a herd of tractors prone to tipping over and farting exhaust fumes of fright. And I'd rather spend time with them than with all the code-cracking sleuths The Da Vinci Codehas to offer.

For the millions who love Richard Petty, Dale Earnhardt Jr., Mario Andretti, and Michael Schumacher, so much the better: Playing animated four-wheel versions of themselves (on the assumption that a man is what he drives), the voices of the real track stars blend easily with those of more recognizable thespians in the instructive story of hotshot race-car rookie Lightning McQueen. Just a curlicue of vocal cockiness courtesy of Owen Wilson is enough to convey the crucial fact that McQueen — a my-way-or-the-highway type who claims not to need no help from no one — is, in fact, precisely the kind who needs to learn how to slow down and smell the off-ramps. The picture opens with a race (featuring cars, don't forget, with big expressive eyeballs) as rigorously accurate for aficionados as it is fun for novices. And the unbeatable Pixar skill at rendering texture, perspective, background, movement, and detail is so casual in its dazzle that it's tempting to take the up-close view, vertiginous feel, and aerodynamic accuracy of racetrack curves rounded at lightning speed for granted.

Anyhow, a three-way finish for McQueen, the reigning race champ Strip ''The King'' Weathers (that's Petty), and showboating corner cutter Chick Hicks (Michael Keaton) forces an elimination race for the Piston Cup in L.A. And as he heads out to compete (hauled by Mack, a 1985 Super-Liner voiced by behind-the-mike mainstay John Ratzenberger), an accidental detour strands McQueen off the interstate in Radiator Springs.

That's where Cars switches from knowing, needling observer of NASCAR culture (and its attendant endorsement perks) and becomes avuncular promoter of small-town life as seen in loving photo books about Route 66 ghost towns. Stalled in a poky burg all but out of business since the interstate siphoned tourist traffic away, an impatient McQueen stays only under duress, educated by townsfolk including local judge Doc Hudson (Newman, himself a car racer, in the role of a 1951 jalopy that fits the 81-year-old actor like a trophy), the loyal and hee-hawing tow truck Mater (Larry the Cable Guy), and the onetime fast-lane Porsche 911, Sally Carrera (Bonnie Hunt, another favorite Pixar vocalizer).

The lesson McQueen learns — that loyalty, community, and an appreciation of life's detours matter as much as or more than individual advancement — isn't anything we haven't been fed a hundred times, most recently explained by an animated raccoon and his foraging buddies in Over the Hedge, and learned by Michael J. Fox 15 years ago in Doc Hollywood. But as the movie slows down to take in the scenery in and around imaginary, iconic Radiator Springs — a dusty Shangri-la out of Happy Days, a paean to tail fins and sunsets and mesas and neon, embroidered with some of Randy Newman's prettiest songwriting about little pleasures — Cars opens, gently and delicately, into something even more shimmering and soulful than the computerized glint of sunlight on car metal. Reigning Pixar director John Lasseter grew up amid California car culture, the son of a Chevy parts-department manager, and — with co-director Joe Ranft (who died, tragically, in a car accident before the picture was completed) and the Pixar team — has created a work of American art as classic as it is modern. Note to tourists: Leave before the very end of the credits and you'll miss some of the best and funniest roadside sights.

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