Apocalypse Now achieved its highest aspiration: Not only was it immersed in the historical period and place - Vietnam - but it was an allegory of people facing reality and truth.
Certain films contain what I shall call "operatic montage," a form of montage which manipulates temporal and spatial relations in film, typically to melodramatic ends.
Throughout the three hours and twenty minutes of Part II, there are so many moments of epiphany — mysterious, reverberant images, such as the small Vito singing in his cell — that one scarcely has the emotional resources to deal with the experience of this film.
"The Conversation" was very ambitious, and I hung in not because it was going right, but because I couldn't accept within myself the judgment that I couldn't succeed in doing it. It's a funny thing, but I just couldn't let the project go."
by Andrew Sarris I It came over the car radio while I was driving out to wintry, stormy Long Island for the Memorial Day weekend. The Conversation had won the Grand Prize at Cannes, The Sugarland Express had been singled out for its screenplay, and Jack Nicholson had been named [...]
I am convinced that The Godfather could have been a more profound film if Coppola had shown more interest (and perhaps more courage) in those sections of the book which treated crime as an extension of capitalism and as the sine qua non of showbiz.
by Pauline Kael At the end of The Godfather Part II (1974), the story was complete—beautifully complete. Francis Ford Coppola knew it, and for over a decade he resisted Paramount’s pleas for another sequel. But the studio’s blandishments became more honeyed, his piggy bank was smashed, and late in 1988 [...]