Paramount Pictures | Release Date: December 25, 1990 CRITIC SCORE DISTRIBUTION
60
METASCORE
Mixed or average reviews based on 19 Critics
Positive:
10
Mixed:
5
Negative:
4
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100
This lushly photographed, brilliantly acted and wonderfully entertaining movie has its own claims to uniqueness. It's the most thoughtful of the three films, and its climax brings the entire series into sharper focus. [25 Dec 1990, Daily Datebook, p.E1]
90
Though definitely one of the best American movies of the year--a work of high ensemble talent and intelligence, gorgeously mounted and crafted, artistically audacious in ways that most American movies don't even attempt--it's still a disappointment… It's not the capstone we might have wanted Coppola to make. [23 Dec 1990, Calendar, p.9]
75
Alas, what you've heard about Sofia Coppola (as Michael's daughter) is true; she swallows words and speaks “valley girl.'' What a difference Winona Ryder would have made. [24 Dec 1990, Life, p.1D]
70
Andy Garcia, who first became noticeable in The Untouchables, has seductive strength, homicidal cool. One reason to look forward to Part IV is that he'll fill the center better than Pacino does. [21 Jan 1991, p.26]
60
With all its boardroom bickering, the plot is a gun that shoots mostly blanks. G3 is too faithful to the deliberate pacing of the first two films: the slow walking into a dark room, the silence surrounding the threats... The film is a slow fuse with a big bang. [24 Dec 1990, p.76]
50
An air of embarrassing familiarity hangs over the entire project, as if it were a story told by an aging relative not quite aware of how many times, and how much better, he has been over the same material before. [25 Dec 1990, Tempo, p.1]
40
Lightning didn't strike three times; the movie is lumbering... I don't think it's going to be a public humiliation, and it's too amorphous to damage our feelings about the first two. [1 Jan 1991]
38
The main performances are generally weak, although the smaller ones are sometimes brilliant, and the yarn never builds much momentum as it leapfrogs from one subplot to another. [28 Dec 1990, Arts, p.14]