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Seth Landman

Bad Dads: 8 of the Most Terrifying Father’s Day Movies

god father movie review and rating

Maybe not everyone thinks it’s a fun idea to descend into the most terrifying elements of horror in order to celebrate familial bonds. But for me, movies are a useful place to go to for extremes. The stories in these films — and the terrible behavior of these dads — are a nice way to put into relief the wonderful relationships fathers can have with their children in real life. Also, sometimes it’s nice to just hunker down with family and enjoy a piece of spooky cinema. 

Since we took a look at some of the most harrowing movies to watch in celebration of Mother’s Day, it seems only fair that we do the same now for Father’s Day. And sure, you might feel like celebrating good fathers like Atticus Finch (Gregory Peck) in To Kill a Mockingbird (1962) or Harry Stamper (Bruce Willis) in Armageddon (1998). That’d be fair; but if you want to get weird this year, we hope you enjoy our list of horrible horror dads. 

The Shining (1980)

god father movie review and rating

Stanley Kubrick’s The Shining , based on Stephen King’s 1977 novel of the same name, has been analyzed so much that there’s even a documentary — Room 237 — that explores some of the stranger interpretations of the film. Some of these interpretations — especially the one that explores the idea that Kubrick had been part of a conspiracy to fake the footage of the Apollo 11 moon landing — are fun to consider, but mostly The Shining is a movie about a horrifying father. 

Jack Torrance is played with truly unhinged rage by the great Jack Nicholson. Jack seethes with anger and resentment at his wife, Wendy (Shelley Duvall), and his son, Danny (Danny Lloyd), simply because they exist in a world where he has failed and is failing to provide for them. As he projects his failures outward more and more, the movie spirals into terror and violence. Though The Shining almost didn’t get made , it’s one of the greatest horror movies ever; it’s also one of the few that still scares me so much that I avoid watching it.

Night of the Hunter (1955)

god father movie review and rating

Night of the Hunter , directed by the great actor Charles Laughton from a screenplay by the novelist James Agee, was somehow a complete flop when it came out. Laughton passed away seven years later having never directed another film. And yet, history ended up being kind to Night of the Hunter , which is now considered one of the best and most terrifying movies ever made. 

The film stars Robert Mitchum as Reverend Harry Powell, a serial killer who marries widows for their money and then kills them. That premise sets up one of the wildest bad stepdad situations you could ever imagine. There’s some great acting from the child actors in this movie, and a totally hair-raising showdown between Harry and an old woman named Rachel (screen legend Lillian Gish). I don’t want to spoil the climax of this beautiful, spooky movie, but do yourself a favor and watch it if you’ve never seen it; you won’t regret it.

The Texas Chain Saw Massacre (1974)

god father movie review and rating

I’m sneaking this one onto the list as a nod to its focus on bad dads across generations. In Tobe Hooper’s The Texas Chain Saw Massacre , it really is a family affair. The story — which is kind of besides the point in a movie like this — is about some kids who go out to explore their old family homestead after they hear reports that their grandfather’s grave was vandalized. When they stop by the neighbors’ house, they run into Leatherface and his family, and the rest, as they say, is history.

The film’s low-budget execution ended up making it one of the most influential movies of the past 50 years, and it’s truly just a harrowing experience on every level. The familial aspects are definitely part of what’s so disturbing about it. The revelation of the grandfather’s appearance later in the movie really drives the point home that this horror is generational. Its darkness and gore are not for everyone, but if you love horror, this movie is a classic.

Get Out (2017)

god father movie review and rating

Jordan Peele’s first directorial feature, Get Out , is without a doubt one of the most exciting debut films ever made. The movie makes use of standard horror movie tropes like possession and control, but applies them to a narrative about racism. At the center of the movie is a Black man named Chris (Daniel Kaluuya), who heads out to the country with his white girlfriend Rose (Allison Williams).

Then it becomes one of those movies where you know something fishy is going on, and you’re waiting for the reveal. When you find out, it’s probably even worse than you imagined. Bradley Whitford’s performance as Rose’s dad, Dean, is deeply disturbing; he’s a cliché of “woke” whiteness who ends up being as evil as a person can be. In what might be a wink at The Texas Chain Saw Massacre , there’s even a grandfather involved (Richard Herd) who got the whole nightmare started. After seeing Get Out , you’ll always be excited to find out what Jordan Peele is up to next . 

Rosemary’s Baby (1968)

god father movie review and rating

Another one of the most essential horror movies ever, Rosemary’s Baby makes use of a couple of different classic horror themes. It’s about demonic possession, yes; it’s also about the terrifying notion that your paranoia might be correct . I don’t know about you, but that’s always been an idea in psychological horror movies that makes them much more likely to stick with me, and Mia Farrow’s performance as Rosemary Woodhouse is truly a great one. 

As a movie fan, it’s really surprising to see the famous director John Cassavetes as Rosemary’s husband Guy Woodhouse. As it dawns on you what’s happening over the course of the film — that Guy has joined up with Satanists — his performance becomes more and more haunting. Ultimately, his decision to sell his family and his fatherhood out to forces of true evil is what gets him onto this list of bad dads. 

Frailty (2002)

god father movie review and rating

One of the few films directed by the beloved late actor Bill Paxton, Frailty is a haunting look at the hold a father can have on his sons. Featuring really excellent performances by Paxton, Matthew McConaughey and Powers Booth, Frailty is an underrated and somewhat forgotten classic celebrating its 20th anniversary this year.

Paxton plays a man with two young sons who has a revelation one day that God needs him to destroy demons placed on Earth in the guise of regular people. His sons respond to this in very different ways — one goes along with it, and one is horrified but can’t bring himself to do anything about it. There are twists and turns along the way, as the movie moves between the past and the present, but Paxton’s edgy performance as “The God’s Hand Killer” will definitely stick with you.

The Devil’s Advocate (1997)

god father movie review and rating

It’s hard to get into the whole fatherhood angle of this movie without spoiling the ending too much, but this movie is just way too much fun to leave off this list. Keanu Reeves plays a Florida defense lawyer named Kevin Lomax who gets recruited by a man suspiciously named John Milton (Al Pacino, just completely chewing every bit of scenery he can find) to join a big, fancy New York City firm.

As Lomax begins to be seduced by the glitz and glamor of being rich in New York, his wife Mary Ann (Charlize Theron) begins — quite literally — to see the monstrous truth behind the facade. Things arrive at a truly fiery conclusion, as it becomes clear just who, exactly, Milton really is. The Devil’s Advocate isn’t really a horror movie, but it’s so creepy and fun that it needs to be included here. 

28 Weeks Later (2007)

god father movie review and rating

This sequel to 2002’s 28 Days Later features Robert Carlyle as Don, a dad so bad that he stands out even in a zombie movie. Don abandons his wife and a young boy to an onslaught of zombies and then ends up lying to his kids about what happened. 

Of course, Don eventually gets infected with the Rage Virus after kissing his wife, Alice (Catherine McCormack), who survived after Don abandoned her but became a carrier when she was bitten. Anyway, we don’t have to rehash the whole plot to prove Don’s bad dad credentials. Unlike most zombies who are happy to take down anyone who gets in their path, Don goes after his own kids. When you surpass normal levels of zombie behavior, we have no choice but to write about you here in the annals of bad horror dads. 

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The Godfather

1972, Crime/Drama, 2h 57m

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One of Hollywood's greatest critical and commercial successes, The Godfather gets everything right; not only did the movie transcend expectations, it established new benchmarks for American cinema. Read critic reviews

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god father movie review and rating

‘The Godfather’ Review: After 50 Years, It’s Still a Movie You Can’t Refuse

In Collider’s look back at classic films, a first-time watcher reviews Francis Ford Coppola’s legendary 1972 mafia movie.

As part of Collider’s "retro review" series, I’ve been fortunate enough to watch and review Penny Marshall ’s heartfelt tear-jerker A League of Their Own and Alfred Hitchcock ’s suspenseful masterpiece Psycho , two very different, but very important films for any lover and admirer of cinema. But the title that inevitably rises to the top of all movie conversations is, of course, The Godfather . Usually, it involves someone's often cringe-worthy attempt at an impression of Vito Corleone saying those famous words: “I’m gonna make him an offer he can’t refuse.” (If only there was a way we could refuse to hear these impressions.) While that line of dialogue has been overstated, praise for the 1972 crime drama certainly has not.

Before we even dive into the meaty story and character development (or lack thereof), it’s important to take note of just how impressive the cast of The Godfather is. Marlon Brando , James Caan , Diane Keaton , Robert Duvall , and Al Pacino ? It doesn’t get much better than that. There was a special magic that was conjured up here that many subsequent ensemble films have tried—and failed—to replicate. Perhaps it’s because the screen time for each actor and their respective characters felt exactly right. Francis Ford Coppola , the esteemed director and co-writer with the source material’s author Mario Puzo , didn’t fall into the trap of trying to cram everyone’s storylines down the audience’s throat before the credits roll. Maybe it’s because he gave himself ample time to do so. The picture clocks in at a whopping 2 hr and 55 min, which is arguably more than enough time to tell this story. And, considering it was followed up with two sequels (one of which exceeded this indulgent runtime), the almost three-hour time stamp feels a smidge excessive.

Nevertheless, The Godfather never drags, which is a massive storytelling feat for any project, no matter the scope. At the helm of this deadly ship is Marlon Brando as Vito Corleone, the titular Godfather who turns a benign activity such as petting a cat into one of the most terrifying things you ever did see. He’s an aging, respected (but mostly feared) Sicilian crime boss of the very connected Corleone family in 1945 New York City. If you need something, shall we say, “taken care of,” then Vito is the man you call. There's no guarantee he will answer, but you will without a doubt know if he does. With the help of his character’s iconic look and sound, Brando becomes the embodiment of intimidation. He takes his time talking (mostly because he knows that whoever sits before him has no choice but to listen) and stealthily reminds his prey when and how they have let him down. This is effortlessly executed in the opening scene after he hears out the demanding request of a family friend. “I can’t remember the last time you invited me to your house for a cup of coffee,” Vito says while stroking his feline companion. “But let’s be frank here. You never wanted my friendship. And you were afraid to be in my debt.”

While this is often credited with being Brando’s movie, it’s his onscreen sons that are electric. James Caan plays Sonny, the stubborn hot head psychologically burdened by being the oldest. He toes the line his father so firmly established to the best of his ability, though his temper and ego often get the better of him. And when it does, Vito is sure to let him know, promptly shoving him back into his subordinate place. Sonny’s hypocritical behavior is maddening; one minute he is beating Carlo ( Gianni Russo ) for abusing his sister, Connie ( Talia Shire ), the next he is cheating on and beating his own wife without giving it a second thought. Misogyny and racism run rampant in the Corleone family, and Sonny is one of the worst offenders.

RELATED: How The Failure of Francis Ford Coppola's American Zoetrope Birthed 'The Godfather'

Robert Duvall delivers an understated—but highly effective—performance as Tom Hagen, the consigliere and unofficial adopted son of Vito. Basically, he tells Vito who wants to see him and why, which helps the boss decide whether or not any of these meetings are worth his time at all. As consigliere, he also serves as Vito’s errand boy. His even, non-threatening, borderline robotic temperament makes his visits to the people that Vito is trying to persuade all the more powerful. When he meets with Hollywood executive Jack Woltz ( John Marley ) to ask him to give Vito’s godson Johnny Fontane ( Al Martino ) a role in his new movie, Jack gets hostile rather quickly, slinging racial slurs to his face with no end in sight. But rather than returning the favor, Tom keeps his cool, puts out his hand for a shake, and before leaving says, “By the way, I admire your pictures very much.” This out-of-place and subdued compliment was the secret weapon that convinced Jack to take a meeting with Tom after all.

The buffoonish middle son Fredo ( John Cazale ) provides a bit of comic relief. He’s not exactly loyal and is certainly not a leader, an overall stark contrast to Sonny and Tom. But no one is more of a black sheep than the youngest son Michael, who is played with precision by Al Pacino. When we first meet him, he wants nothing to do with his father’s shady business, and the family knows it. He’s a former Marine with an innocent demeanor and a queasy feeling about his father’s reputation. He tries to shield his doe-eyed girlfriend Kay (Diane Keaton) from the brutal reality, but is forced to catch her up to speed on who’s who while they attend his sister’s wedding. Michael’s reluctance is palpable, though, as he’s ashamed of his criminal bloodline. This is clear after he clumsily tries to change the subject from his family to something they are all equally passionate about: food. After explaining Tom’s odd origin story, he says with a child-like smile, “You like your lasagna?”

Pacino’s disturbing metamorphosis is the irregular heartbeat of The Godfather . He goes from being the literal laughingstock of his siblings to the one who calls the shots. What makes his moral descent so believable and scary is how slow said descent actually is. It’s a series of events and tasks that build on each other, subconsciously stroking his ego and beefing up his confidence. Michael whispering, “Just lie here, Pop. I’ll take care of you now. I’m with you now,” to his bedridden father is probably the most blatant indication that his character was starting to shed his skin, but the nonverbal moments are much more powerful. The way he lit a cigarette with ease for Enzo following the potentially-deadly situation in front of the hospital highlighted Michael’s growing coolness under pressure. In other words, his transformation was earned.

To everyone’s surprise, Michael also shows interest in and takes charge of orchestrating a meeting between him, drug lord and rival Sollozzo ( Al Lettieri ), and Captain McCluskey ( Sterling Hayden ), a crooked cop under Sollozzo. If all went according to plan, Michael would be the only one leaving the meeting alive. This proposition is met with laughs by his brothers (particularly Sonny) who all think it’s pretty darn cute that their little brother thinks he can be a family asset. Rather than being discouraged by this mockery, he puts his money where his mouth is and takes the necessary steps to prepare for this public meeting. First order of his business for Michael? Learning how to shoot a gun, something that is as second nature to his siblings as tying a shoe. Pacino’s performance in this scene was particularly potent and revealing for his character. Watching him try to properly hold a gun was like watching a Little Leaguer learn how to grip a baseball bat. But, once he pulls the trigger and got over how loud a gunshot is, he knew he was going to knock the meeting out of the park.

Though some moments in the second half of the film are a bit predictable, there are more than enough plot developments and twists that keep the narrative’s energy and tension. Sonny’s untimely demise at the toll booth, though somewhat expected, is a startling reminder that no one in this line of work is safe. Michael’s reunion with and eventual marriage to Kay after becoming fully invested in this corrupt world is an unsettling full-circle storyline. Vito’s tearful response to hearing that his son died adds a much-needed layer of humanity to the emotion-averse mobster, especially since he shamed a man for crying in the beginning of the film. That, coupled with Vito’s death while playing with his grandson in the tomato garden, is weirdly poetic.

The entire movie neatly tees up to that final scene, where Michael inevitably becomes his father’s son. He dismisses his sister as “hysterical” when she breaks down in tears over the murder of her husband and callously says, “Don’t ask me about my business, Kay” to his concerned wife. The final nail in the coffin comes when he’s referred to as “Don Corleone,” an esteemed title in the mafia world formerly held by his father. The Oscar winning crime drama paints a compelling portrait of how greed, ego, and loyalty can corrupt even the most unassuming individual. The Godfather is simply a movie you can’t refuse.

Rating : B+

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The godfather.

The Godfather Poster Image

Common Sense says

The classic tale of a Mafia family, violence and all.

Parents say

Based on 56 reviews

Based on 197 reviews

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god father movie review and rating

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The parents' guide to what's in this movie.

What Parents Need to Know

Parents need to know that The Godfather is the classic, genre-defining Mafia movie in which Marlon Brando plays the titular character, who's facing grave threats from rival families. Unsurprisingly, there's constant violence. Characters are shot and killed, often at close range in graphic scenes. Characters are strangled to death and die in car explosions. Domestic abuse is shown: A man beats his wife with a belt. In one of many iconic scenes, a movie executive wakes up covered in blood, with a decapitated horse's head in his bed. In the opening scene, a man asks Don Corleone for vengeance after two men raped and beat his daughter. Ethnic and racial slurs are heard, as well as some profanity, including the "N" word. The movie also depicts Italian American culture in a sympathetic but crude and stereotypical light. Characters smoke cigarettes and drink wine, and there's brief nudity (female breasts) and a scene of clothed but audible sex. References are made to the sexual behavior of Sonny ( James Caan ) and Fredo ( John Cazale ).

Community Reviews

Violence, mafia and brief nudity it is still as must watch for everybody

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Slow and methodical masterpiece depiction of sociopathy, what's the story.

THE GODFATHER follows the Corleone family and their rapidly multiplying troubles. Don Corleone ( Marlon Brando ) is on his way out, and his most promising, but unwilling, potential heir is his war-hero son, Michael ( Al Pacino ). As family members cope with the trials of gangster life, the latent power structures of society and family become evident.

Is It Any Good?

Epic in scope while maintaining a patience and intimacy characteristic of European art cinema, this film is rightly considered one of the greatest ever made. Despite valid questions around its role in perpetuating stereotypes of Italian Americans, The Godfather continues to influence producers of films, TV shows, and video games decades after its release. Nino Rota's score, the sumptuous set design, and Brando's raspy pseudo-whisper have become part of our collective cultural memory.

The film has an operatic quality, yet it's more understated than it is flamboyant. It takes its subjects seriously, bestowing legitimacy upon the power struggles of the Mafia normally reserved for classical themes in high art. The film's release initiated a period when American filmmakers dared to take themselves and their artistic ambitions seriously (perhaps too seriously). There's something deeply resonant in the film's treatment of filial piety, the need for respect, and our culture's abiding interest in the parallel moral universe of the Mafia.

Talk to Your Kids About ...

Families can talk about classic movies. The Godfather is considered to be one of the greatest movies of all time. What makes a movie not only great, but a classic? How do you think it set the standard for the Mafia movies and TV shows to come?

How does the movie's violence serve to show what these characters are capable of in order to get what they want?

How does the movie explore hypocrisy, not only among the Corleones, but in society as a whole?

How does the movie depict Italian Americans? Do you think this was accurate? How do movies like this shape how people think about specific cultures and groups of people?

Movie Details

Our Editors Recommend

Goodfellas Poster Image

Violence, swearing, drugs, and more in gangster classic.

Casino Poster Image

Violent story of vice and virtue not for kids.

The Godfather: Part II Poster Image

The Godfather: Part II

Brilliant mob movie with graphic violence.

For kids who love drama

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Common Sense Media's unbiased ratings are created by expert reviewers and aren't influenced by the product's creators or by any of our funders, affiliates, or partners.

Godfather, The (United States, 1972)

Godfather, The Poster

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 "Oriental Godfather "; if it takes place in contemporary times, it's a "modern day Godfather ."

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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god father movie review and rating

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Refrain from posting comments that are obscene, defamatory or inflammatory, and do not indulge in personal attacks, name calling or inciting hatred against any community. Help us delete comments that do not follow these guidelines by marking them offensive . Let's work together to keep the conversation civil.

god father movie review and rating

Surya Manupati 2373 5 days ago

Aeko Raja vishwaroopa dhaari, sashinche dharmachari. Anthe leni aadipatya shali.

deepu rockzz 662 44 days ago

Saysavalisyed 17 77 days ago.

Ub hff. Hg m no hi hi hi hi hu ��hu ki vasta rapu hu ki vasta rapu na hu ki vasta rapu na

Karthi User 283 78 days ago

Nothing apart from Chiranjeevi's performance. Can’t deliver justice to the original (Lucifer). Chiru sir matched the Charishma of Mohanlal but the modified script made it a little boring. Salman khan has a cameo but it’s too routine. One time watchable that too just for Chiranjeevi. Else you can skip it 

Dj Dhurga Dj Dhurga 180 80 days ago

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Godfather Movie Review: Tailormade Remake

Godfather Movie Review: Tailormade Remake

Movie: Godfather Rating: 2.75/5 Banner: Mega Supergood Films, Konidela Productions Cast:  Chiranjeevi, Salman Khan, Nayanthara, Puri Jagannadh, Satya Dev, Murali Sharma, Samuthirakani, Sunil and others Music: Thaman S Director of Photography: Nirva Shah Editor: Marthand K Venkatesh Action: Ram-Laxman, Anl Arsu Producer: RB Choudary and NV Prasad Directed by: Mohan Raja Release Date: October 5, 2022

Any Chiranjeevi starrer evokes curiosity. “Godfather” has created more interest as Bollywood superstar Salman Khan played a guest role. The film marks Salman Khan’s Telugu debut.

Let’s find out whether the film lives up to the expectations.

Story: When Chief Minister PKR passed away, his daughter Satya Priya (Nayanthara) and his son-in-law Jaidev (Satya Dev) decided to take the reins of the party and the government. Not aware of her husband's true nature, Satya Priya proposes Jaidev's name as the new president, which is rejected by MLAs and party men as they follow Brahma (Chiranjeevi), the stepson of the deceased CM.

Satya Priya hates Brahma and wants to keep him away from the party. Jaidev wants to buy all the MLAs with the money from a Mumbai don. The Mumbai mafia don, in return, seeks the permission to set up a drugs production company in the state when Jaidev becomes CM of the state.

How Brahma plays his game and saves his sister Satya Priya and the state from the schemes of Jaidev forms the rest of the story.

Artistes’ Performances: Megastar Chiranjeevi has played a role that suits his age and image. The appearance is also closer to his real life. Chiranjeevi is quite effective when he speaks less and does the acting with his body language. This is the first time that the megastar played a role without a female interest in the film. 

Bollywood superstar Salman Khan in his Tollywood debut gets a raw deal. His entry into the film and his subsequent scenes look superficial.

Satyadev steps in the role played by Vivek Oberoi. Satyadev has put in his best efforts, but his role lacks evilness as Vivek showed in the original. He doesn’t pose as a strong villain to the mighty Chiranjeevi.

Nayanthara is dignified in her role. Sunil is okay. Murali Sharma shines. Puri Jagannadh as a journalist is impressive.

Technical Excellence: Nirav Shah’s cinematography is striking. Many shots in the film show his master touch. The sequences filmed on Necklace Road’s tricolor flag area are beautiful. Thaman’s music is a letdown. Lakshmi Bhupal’s dialogues are pale and normal. 

Highlights: Chiranjeevi’s act and style The first half

Drawback: Weak villain The climax portions Changes to the original story

Analysis “Godfather” is the official remake of the Malayalam blockbuster “Lucifer” featuring Mohanlal. The Malayalam version is a commercial film and a blockbuster. The film was narrated in a gripping manner. It was one of the best political thrillers. 

The basic storyline of “Godfather” is the same as that of “Lucifer”, but director Mohan Raja has made many changes that have diluted the impact.

Until the interval bang, the film is as gripping as the original. While certain changes worked for the image of Chiranjeevi, the other crucial changes, especially the removal of the brother’s character, have changed the course of the drama. 

The protagonist is the son of the deceased chief minister and that is never explicitly told in the original movie. It is only implied with the ‘silence’ of the main character. This angle has given room for suspense in the story. In “Godfather”, at the very beginning, it is revealed that Chiranjeevi is the son of the deceased Chief Minister. So, the drama about the identity of “Lucifer” or “Brahma” goes missing. Then the arrival of the Chief Minister’s younger son is quite dramatic in "Lucifer". In the “Godfather”, the role is completely chopped off. 

What “Godfather” gets right is it doesn’t spoil the spirit of the original. The first half is narrated in a gripping manner. Plus, additional sequences like adding a heroine to Chiranjeevi or songs are not incorporated. This is a major relief. 

The political dialogues used by Chiranjeevi are in ok with the story, there is no forced additional political track. Puri Jagannadh’s journalist role and the sequences have also come out well. 

Even after the interval, the film goes as per the story for a few sequences. But thereafter, it turned into a complete ‘Telugu commercial film’. 

Satya Dev’s character lacks the evilness of Vivek Oberoi’s. In turn, Satya Dev looks like a meek person in front of Chiranjeevi, who is called the boss of the bosses. And We don’t get any high moments when Chiranjeevi and Salman Khan appear together. In the original, the same sequences filmed on Mohanlal and Prithviraj Sukumar provide goosebumps. 

Having said that, “Godfather” is a better action drama compared to recent masala movies. When it sticks to the original, it works big time, when it deviates, it goes down. If we stop comparing it with the original, it looks interesting. However, Chiranjeevi’s charisma and his swag, and certain portions bring joy to his fans. For others, it is a strictly okay watch. It is difficult for the audience who watched 'Lucifer' to relish this film. But those who didn't watch the original may like it. This is the tailormade remake for Chiranjeevi. 

Bottom line: For fans

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god father movie review and rating

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Refrain from posting comments that are obscene, defamatory or inflammatory, and do not indulge in personal attacks, name calling or inciting hatred against any community. Help us delete comments that do not follow these guidelines by marking them offensive . Let's work together to keep the conversation civil.

god father movie review and rating

Surya Manupati 2373 5 days ago

Aeko Raja vishwaroopa dhaari, sashinche dharmachari. Anthe leni aadipatya shali.

deepu rockzz 662 44 days ago

Saysavalisyed 17 77 days ago.

Ub hff. Hg m no hi hi hi hi hu ��hu ki vasta rapu hu ki vasta rapu na hu ki vasta rapu na

Karthi User 283 78 days ago

Nothing apart from Chiranjeevi's performance. Can’t deliver justice to the original (Lucifer). Chiru sir matched the Charishma of Mohanlal but the modified script made it a little boring. Salman khan has a cameo but it’s too routine. One time watchable that too just for Chiranjeevi. Else you can skip it 

Dj Dhurga Dj Dhurga 180 80 days ago

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During the movie we see not a single actual civilian victim of organized crime. No women trapped into prostitution. No lives wrecked by gambling. No victims of theft, fraud or protection rackets. The only police officer with a significant speaking role is corrupt.

The story views the Mafia from the inside. That is its secret, its charm, its spell; in a way, it has shaped the public perception of the Mafia ever since. The real world is replaced by an authoritarian patriarchy where power and justice flow from the Godfather, and the only villains are traitors. There is one commandment, spoken by Michael ( Al Pacino ): “Don’t ever take sides against the family.”

It is significant that the first shot is inside a dark, shuttered room. It is the wedding day of Vito Corleone’s daughter, and on such a day a Sicilian must grant any reasonable request. A man has come to ask for punishment for his daughter’s rapist. Don Vito asks why he did not come to him immediately.

“I went to the police, like a good American,” the man says. The Godfather’s reply will underpin the entire movie: “Why did you go to the police? Why didn’t you come to me first? What have I ever done to make you treat me so disrespectfully? If you’d come to me in friendship, then this scum that ruined your daughter would be suffering this very day. And if, by chance, an honest man like yourself should make enemies . . . then they would become my enemies. And then they would fear you.”

As the day continues, there are two more scenes in the Godfather’s darkened study, intercut with scenes from the wedding outside. By the end of the wedding sequence, most of the main characters will have been introduced, and we will know essential things about their personalities. It is a virtuoso stretch of filmmaking: Coppola brings his large cast onstage so artfully that we are drawn at once into the Godfather’s world.

The screenplay of “The Godfather” follows no formulas except for the classic structure in which power passes between the generations. The writing is subtly constructed to set up events later in the film. Notice how the request by Johnny Fontane, the failing singer, pays off in the Hollywood scenes; how his tears set up the shocking moment when a mogul wakes up in bed with what is left of his racehorse. Notice how the undertaker is told “someday, and that day may never come, I will ask a favor of you. . .” and how when the day comes the favor is not violence (as in a conventional movie) but Don Vito’s desire to spare his wife the sight of their son’s maimed body. And notice how a woman’s “mistaken” phone call sets up the trap in which Sonny ( James Caan ) is murdered: It’s done so neatly that you have to think back through the events to figure it out.

Now here is a trivia question: What is the name of Vito’s wife? She exists in the movie as an insignificant shadow, a plump Sicilian grandmother who poses with her husband in wedding pictures but plays no role in the events that take place in his study. There is little room for women in “The Godfather.” Sonny uses and discards them, and ignores his wife. Connie ( Talia Shire ), the Don’s daughter, is so disregarded that her husband is not allowed into the family business. He is thrown a bone--”a living”--and later, when he is killed, Michael coldly lies to his sister about what happened.

The irony of the title is that it eventually comes to refer to the son, not the father. As the film opens Michael is not part of the family business, and plans to marry a WASP, Kay Adams ( Diane Keaton ). His turning point comes when he saves his father’s life by moving his hospital bed, and whispers to the unconscious man: “I’m with you now.”

After he shoots the corrupt cop, Michael hides in Sicily, where he falls in love with and marries Appolonia (Simonetta Stefanelli). They do not speak the same language; small handicap for a Mafia wife. He undoubtedly loves Appolonia, as he loved Kay, but what is he thinking here: that he can no longer marry Kay because he has chosen a Mafia life? After Appolonia’s death and his return to America, he seeks out Kay and eventually they marry. Did he tell her about Appolonia? Such details are unimportant to the story.

What is important is loyalty to the family. Much is said in the movie about trusting a man’s word, but honesty is nothing compared to loyalty. Michael doesn’t even trust Tom Hagen ( Robert Duvall ) with the secret that he plans to murder the heads of the other families. The famous “baptism massacre” is tough, virtuoso filmmaking: The baptism provides him with an airtight alibi, and he becomes a godfather in both senses at the same time.

Vito Corleone is the moral center of the film. He is old, wise and opposed to dealing in drugs. He understands that society is not alarmed by “liquor, gambling . . . even women.” But drugs are a dirty business to Don Vito, and one of the movie’s best scenes is the Mafia summit at which he argues his point. The implication is that in the godfather’s world there would be no drugs, only “victimless crimes,” and justice would be dispatched evenly and swiftly.

My argument is taking this form because I want to point out how cleverly Coppola structures his film to create sympathy for his heroes. The Mafia is not a benevolent and protective organization, and the Corleone family is only marginally better than the others. Yet when the old man falls dead among his tomato plants, we feel that a giant has passed.

Gordon Willis ’ cinematography is celebrated for its darkness; it is rich, atmospheric, expressive. You cannot appreciate this on television because the picture is artificially brightened. Coppola populates his dark interior spaces with remarkable faces. The front-line actors--Brando, Pacino, Caan, Duvall--are attractive in one way or another, but those who play their associates are chosen for their fleshy, thickly lined faces--for huge jaws and deeply set eyes. Look at Abe Vigoda as Tessio, the fearsome enforcer. The first time we see him, he’s dancing with a child at the wedding, her satin pumps balanced on his shoes. The sun shines that day, but never again: He is developed as a hulking presence who implies the possibility of violent revenge. Only at the end is he brightly lit again, to make him look vulnerable as he begs for his life.

The Brando performance is justly famous and often imitated. We know all about his puffy cheeks, and his use of props like the kitten in the opening scene. Those are actor’s devices. Brando uses them but does not depend on them: He embodies the character so convincingly that at the end, when he warns his son two or three times that “the man who comes to you to set up a meeting--that’s the traitor,” we are not thinking of acting at all. We are thinking that the Don is growing old and repeating himself, but we are also thinking that he is probably absolutely right.

Pacino plays Michael close to his vest; he has learned from his father never to talk in front of outsiders, never to trust anyone unnecessarily, to take advice but keep his own counsel. All of the other roles are so successfully filled that a strange thing happened as I watched this restored 1997 version: Familiar as I am with Robert Duvall, when he first appeared on the screen I found myself thinking, “There’s Tom Hagen.”

Coppola went to Italy to find Nino Rota , composer of many Fellini films, to score the picture. Hearing the sadness and nostalgia of the movie’s main theme, I realized what the music was telling us: Things would have turned out better if we had only listened to the Godfather.

Roger Ebert

Roger Ebert

Roger Ebert was the film critic of the Chicago Sun-Times from 1967 until his death in 2013. In 1975, he won the Pulitzer Prize for distinguished criticism.

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Film credits.

The Godfather movie poster

The Godfather (1972)

175 minutes

Marlon Brando as Don Vito Corleone

Richard Costellano as Clemenza

Robert Duvall as Tom Hagen

Alex Rocco as Moe Green

James Caan as Sonny Corleone

Al Pacino as Michael Corleone

Sterling Hayden as McClusky

John Cazale as Fredo Corleone

John Marley as Jack Woltz

Diane Keaton as Kay Adams

Richard Conte as Barzini

Talia Shire as Connie Rizzi

Gianni Russo as Carlo Rizzi

Lenny Montana as Luca Brasi

Marlon Brando as Vito Corleone

Al Martino as Johnny Fontane

Tony Giorgio as Bruno Tattaglia

Al Lettieri as Sollozzo

Morgana King as Mamma Corleone

John Martino as Paulie Gatto

Sterling Hayden as McCluskey

Talia Shire as Connie

Abe Vigoda as Tessio

Alex Rocco as Moe Greene

Richard S. Castellano as Clemenza

Rudy Bond as Cuneo

Cinematography by

Produced by

Screenplay by

Based on the novel by

Directed by.

Photographed by

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    God Father Movie Review: Critics Rating: 3.5 stars, click to give your rating/review,The film, God Father directed by Mohan Raja featuring

  13. The Godfather movie review & film summary (1972)

    The success of “The Godfather” as a novel was largely due to a series of unforgettable scenes. Puzo is a good storyteller, but no great shakes

  14. The Godfather movie review & film summary (1972)

    The Godfather” is told entirely within a closed world. That's why we sympathize with characters who are essentially evil.