I enjoyed this ending equally with the previous two chapters of the overall Coreleone story, and it is not all that much of a rehashing as some claim it to be (though I do notice Garcia, at the beginning at least, trying a bit too hard to emulate James Caan, though maybe it was necessary), but I have to admit that I think they should've gave Duvall the money he wanted so we could see Tom Hagen once more.
If it had Winona Ryder in the role instead of Sofia Coppola, it would have been a MUCH better film overall. She gives one of the worst performances ever, and she has the face of a pancake house waitress, its no wonder Andy Garcia couldnt even pretend to find her desirable. Proof of how a single nepotismic mistake can bring down an entire operation. Coppola blew it.
Nowhere near the level of the first two masterpieces, but also nowhere near the disaster that the general public claims it to be. There are some truly great moments here, they just don't happen with the regularity that they do in the previous two films in the trilogy. 4/5.
Michael Corleone's demise was as fascinating to see as Vito's. I was so glad when his daughter was shot in the end! My biggest problem with the trilogy were the scattered secondary/tertiary characters - even watching the films back-to-back in 4 days, I struggled to recall all their names and roles within the Godfather saga. But all in all, I see why these films are so highly-regarded by audiences and critics alike.
Third films are tricky and this one falls into that curse. Could it be that Part 2 was so great that it was impossible to top? Maybe. Or it could just be Coppola going through the motions again. This film definitely lacks passion but it is worth the watch just to finish the trilogy.
It's true that Sophia Coppola is miscast and some characters (like Zaza and Altobello) come across as gangster charicatures. Further, the whole papal story labours that gradually ascending involvement of the Corleone family in the world of crime that was dealt with more subtly in the first films. But the director's vision here remains unmistakable and chilling: our evil deeds live with us, and damn us to our deaths.
Clearly subpar when in comparison with the first two installments, Part III of Coppola's epic family story lacks the incisive poetry and the cunning dialectics that made the first films such fantastic cinematic achievements. Still, the last 30 minutes, in true Sicilian fashion, provide a tremendous conclusion to the storyline.