Coppola's sequel to The Godfather is just as atmospheric and spectacularly directed (especially in some set pieces). It is also better acted, and benefits from the absence of the mannered Marlon Brando. But there's a hopelessly disorganized plot, with narrative leaps and loose ends galore.
Morally, it seems even more questionable than its predecessor: ever anxious to gather sympathy for the Mob, it suggests that they are just pursuing the American Dream by somewhat unconventional means. Symptomatic of the film's contempt for reality is the fact that the ship on which young Vito Corleone is supposed to be arriving in New York from Sicily sails south past the Statue of Liberty, and is therefore quite clearly leaving.
Critics generally adored the film. It was the first ever sequel to win the Oscar for Best Picture. The score, by Nino Rota and Carmine Coppola (Francis's father), also won an Oscar.