Kill your idols: The Godfather

I know that there were a lot of issues having the movie made, but if I remember correctly the book was pretty similar in terms of its treatment of Vito. But it has been a long time since I read the book and the stories of Lucy Mancini's large opening (which thankfully weren't covered by the movie).

 

Nah, Kevin Smith has had two great 90-minute runs, surrounded by an ocean of suck.

 

The differences between Vito and Michael are intentional.
Vito is a criminal and a murderer ; ultimately his choices to be a criminal and a murderer lead to the destruction of the people he loves. Vito's choices, often shown in the movie as good-intentioned or even noble, lead to Sonny's death, the death of Michael's wife, Fredo's death, etc. Vito's choices are the heart of all of it. He drew the map that Michael followed. What counts is the chain of actions and outcomes, not the differences in their personalities.

 

I get people who hate Kevin Smith. He's not for everybody. But for 10 years he kept his fans pretty happy.

 

I love Clerks I and thought 2 was OK with some hilarious moments, but pretty much everything else I've ever seen out of KS leaves me flat, especially his bloviating about what he wanted to do in the Superman movie scripts he was supposed to write. Thank god he never got the chance.

 

Chasing Amy was half of a great movie. Unfortunately, they couldn't just end it halfway through.

 

Was the tipping scene in Usual Suspects written before Clerks came out?

Did movies do scenes like 39 guys, Happy Scrappy Hero Pup or Death Star subcontractor before Clerks?

 

Watch Mallrats again, and listen to the ridiculously unfunny one-liners delivered in cheesy ways by terrible actors (save Jason Lee), and every flaw Kevin Smith has will be exposed.

Jersey Girl showed he can't really be effective apart from the dick-and-fart-joke shtick.

I thought Zack and Miri Make a Porno was really strong until it basically turned into a Jersey Girlish, sappy romcom at the end.

 

Watch the cornball speech his Affleck delivers at the end of Chasing Amy- which for all its pretensiousness might as well have been delivered into the receiver of a rotary phone, there is so little interaction or tension between the characters.
And this is supposedly one of his good movies.
He's such a great writer he gives -every- one of his lame characters the same voice- long-winded piffle that takes you nowhere, and of interest to no one older than 13.