Spoiler: The rest of my list 1. In the Heat of the Night (A) 2. The Passion of Joan of Arc (B) 3. The Passion of the Christ (A) 4. Mamma Mia! (B) 5. All About Eve (A) 6. Looking for Anne (B-) 7. 2001: A Space Odyssey (B+) 8. The King's Speech (A) 9. How Green Was My Valley (B-) 10. Black Swan (B+) 11. Made in Dagenham (B) 12. Gentleman's Agreement (A-) 13. Barney's Version (A-) 14. Out of Africa (B) 15. The Social Network (A-) 16. The Sound of Music (B+) 17. Pulp Fiction (A) 18. Forrest Gump (A) 19. The Shawshank Redemption (A+) 20. The Illusionist (B) 21. The French Connection (B+) 22. Network (A+) 23. Incendies (A+) 24. Mrs. Miniver (A) 25. A Fistful of Dollars (B+) 26. For A Few Dollars More (B) 27. WALL-E (A+) 28. Who's Afraid of Virginia Woolf? (A) 29. The Good, The Bad, and The Ugly (B) 30. Gigi (B-) 31. I Love You Phillip Morris (B+) 32. How To Train Your Dragon (A) 33. Tarzan (B+) 34. Oliver! (B+) 35. Gosford Park (A-) 36. The Princess Bride (B+) 37. All the President's Men (A-) 38. Oliver Twist (B+) 39. My Fair Lady (A+) 40. Hanna (A-) 41. The Godfather (A+) 42. The Godfather: Part II (A+) 43. The Godfather: Part III (A-) Well, that was hardly bad. Getting a little repetitive, maybe ("That guy who we thought was our friend is actually trying to overthrow us! Also, Michael's family life is threatened."). I can see why people expecting it to be in the same league as the first two would be upset, but it's a pretty good picture, for the most part. I liked a lot of the thematic stuff, such as Michael's remarking that the "legitimate" world that has always seemed forever out of reach may not actually exist at all. One of the most effective parts of the movie I thought was actually Connie, who was a peripheral figure in the earlier films, but has by now become thoroughly enmeshed in the family business and is pretty bloodyminded. Virtually every negative comment I've seen about this movie makes some mention of Sofia Coppola as Mary Corleone. It's...not a strong performance, by any means; she has some good facial expressions here and there, but her line deliveries are pretty much all monotone. She hardly ruins the movie, but several scenes would have been significantly better with a different actress. Of the four young directors who transformed Hollywood in the 1970s (the other three being Spielberg, Lucas, and Scorsese; I recall Coppola, Lucas and Spielberg jointly presenting Scorsese with his Best Director Oscar for The Departed), Coppola's star rose the quickest, one could argue it shone the brightest (he's not my personal favourite of them), and also fell with equal speed. Coppola was pretty much done as an artist by 1980, while Spielberg and Scorsese went on to garner acclaim for decades to come, and Lucas remained a popcultural force if not a significant director.