100

Total Film

The plotting is elliptical and the sweep intoxicates, but the contrast between De Niro’s meditative Vito and Pacino’s soul-starved eyes brings piercing focus to Coppola’s resonating study of corrupting power.
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100

Time Out London

By Tom Huddleston
This is quite simply one of the saddest movies ever made, a tale of loss, grief and absolute loneliness, an unflinching stare into the darkest moral abyss.
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100

Empire

By Kim Newman
And with supporting roles from the likes of Diane Keaton, Robert Duvall and Lee Strasberg, to say nothing of Roger Corman and Harry Dean Stanton in bit parts, this is nothing short of magisterial.
Full Review
100

TV Guide

Cinematographer Willis superbly captures the turn-of-the-century period, applying a seriographic tint to flashback scenes for a softer, richer look than the sharp image of the ongoing contemporary story.
Full Review
100

ReelViews

By James Berardinelli
As the beginning of Part II echoes the opening of "The Godfather," so too does the end. Because of the manner in which circumstances are handled and considering the people involved, the impact here is more forceful. The tragic flaw has accomplished its poisonous, inevitable designs. Coppola punctuates both movies with a gut-twisting exclamation point.
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90

The Hollywood Reporter

It is neither a very happy or driving picture. But it is intellectually daring and marks an important breakthrough in the growing up of the Hollywood film.
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90

Variety

Al Pacino again is outstanding as Michael Corleone, successor to crime family leadership.
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75

Chicago Sun-Times

By Roger Ebert
Coppola is unable to draw all this together and make it work on the level of simple, absorbing narrative. The stunning text of "The Godfather" is replaced in Part II with prologues, epilogues, footnotes, and good intentions.
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70

Chicago Reader

Three hours and 20 minutes of Al Pacino suffering openly, Robert Duvall suffering silently, Diane Keaton suffering noisily, and (every so often) Robert De Niro suffering good-naturedly is almost too much, but Francis Ford Coppola pulls it off in grand style.
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40

The New York Times

By Vincent Canby
The only remarkable thing about Francis Ford Coppola's The Godfather, Part II is the insistent manner in which it recalls how much better his original film was...Even if Part II were a lot more cohesive, revealing, and exciting than it is, it probably would have run the risk of appearing to be the self-parody it now seems.
Full Review
80 out of 100
Universal acclaim
Metascore® based on all critic reviews. Scores range from 0 to 100, with higher scores indicating more favorable reviews.