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Nice effects though.

A lot more amusing than I thought it would be.

It's an amazing and heartbreaking story.

The tone of this movie is interesting -- the stakes are both dramatic and high, but it's balanced with a lot of fun, tongue and cheek dialogue.

For Toad to be a Warranted Officer is out of character for Toad. He should have been a privet or corporeal. Now that he has been made a warranted officer Let us look at how WO1 would act and how he would have been treated. A WO has paid to high of a price to hurt himself or go AWOL ,or become a deserter. They were 'Junior' officers They behaved that way and were treated the same as officers. This is why he would never clean latrines or any other enlisted mans labor detail. When the Major said this is officers country get out ,would never be said to a WO. He had the right and privilege to be in officers country.

After American Graffiti one would think that a sequel would not be necessary. The fates of most of the main characters is revealed at the end of the film, and the film itself complete with no further explanation really necessary. But, likely, with the success of Star Wars and George Lucas, Universal must have been thinking, "Hey, let's make a sequel to American Graffiti. Let's cash in that check!" I can't blame anyone for having that mentality. This is the United States of America, and I believe in Capitalism. However, when that mentality has been exercised with the film industry, 975 times out of 1000 the result has been substandard at best, and as a sequel, More American Graffiti is substandard at best. It doesn't retain the nice feel that its predecessor had. Not all the characters are there and together throughout the film. Richard Dreyfuss probably had the best foresight of any of the other actors in the original, "This movie's not going to be as good as the original." He also had the most success out of the bunch from American Graffiti up to 1979, having starred in Jaws (1975) and Close Encounters of the Third Kind (1977), not that I'm saying the rest of the cast from American Graffiti is bad. So the success and the hypothetical foresight might likely be why he did not opt to be in the sequel. Having the rest of the cast, including Wolfman, return for the sequel gave it some amount of integrity, but the acting wasn't exactly the best in this film. Another thing that gives it integrity is the fact that it has four separate plots intertwined and being told at the same time, just like the original, but with a twist...each plot is set in a different year. You have to be paying attention or you'll get lost. Despite it being far inferior to its predecessor, More American Graffiti, by itself, is interesting. Big tip: don't watch it right after watching American Graffiti. That helps a lot. It starts on New Year's Eve, 1964 at a drag Racing Strip where John Milner is racing for money and trying to get sponsorship. Steve and Laurie and Terry and Debbie go to see John and wish him luck. After that scene, the film goes to New Year's Eve 1965 with Terry in Vietnam trying to shoot himself with his own M16 (which speaks hours about what it was like to be in Vietnam during the conflict). After we leave Terry botching his own wound self-infliction, we move to New Year's Eve 1966 and see Debbie driving in San Francisco, nonchalantly lamenting over the anniversary of the loss of her friend John Milner and her boyfriend, Terry to her current boyfriend Lance. She's no longer a platinum blonde heart breaker that likes Old Harper, but a hippie/groupie that likes marijuana. She get's pulled over by an Officer Bob Falfa (Harrison Ford), and Lance gets taken in for possession of a joint (after having consumed the entire stash of weed he had in the glove compartment of Debbie's car, no less). Debbie's subplot sort of splits off a little bit having Carol (or Rainbow, as she's affectionately referred to by her hippie friends) there with her. After we leave Debbie with the dilemma of having to bail out Lance, we go to New Year's Eve 1967 to see Steve and Laurie with their twin boys. Steve and Laurie have a tumultuous marriage with children. Laurie wants to get a job and start a career of her own, as opposed to being simply a housewife, and Steve, being old-fashioned in ways, forbids it, which makes Laurie angry and causes her to leave the house to go see her brother. This subplot sort of branches into two halves: Steve's side and Laurie's side, but it later comes back together. The 1964 and 1967 subplots are pretty much presented in rather normal fashion. The 1965 subplot is presented in grainy hand-held super 16mm film, trying to resemble war reporters' footage. The 1966 subplot is presented with multiple frames with different angles and shots playing out at the same time kind of like Woodstock (1970) was, trying to get a sort of documentary feel. This very eclectic manner of presentation struck me as rather interesting, as did the nonlinear plot. It keeps you on your feet. So, if you're into that sort of thing—if you like how Quentin Tarrantino tells a story— you might like this. Another aspect that this film has that the original also has, is have the voice of the Wolfman over the radio playing a vast amount of music from the time. Wolfman sort of acts as a master of ceremonies and ties all the subplots together, as does the music he plays. Instead of just hearing Buddy Holly, Bill Haley Chuck Berry and other staples of blues and early rock, we also hear The Doors, The Supremes and The Byrds—staples of that great time in music in the United States. The soundtrack rivals that of Forrest Gump with it's extensive amount of tracks and eclectic sounds. The early selections are there to sort of tie this film to its predecessor and remind you of American Graffiti; while the more recent (for the setting of the film) selections are there to supplement and complement the events. And the soundtrack is presented in the film in the way that the original presented its soundtrack. The music is not there like an orchestral score, but it is being experienced by the characters themselves, for the most part, and it is presented with the certain distortions that the environment in which the characters are has upon it. In conclusion, the film itself is not a terrible film, but since it is billed as a sequel to American Graffiti and is far inferior to its predecessor, I must give it a 6 out of 10.

I saw American GRAFFITI when it first came out and was blown away. I didn't even know there was a sequel until it came on late-night TV a few years ago. I watched it with some reluctance, expecting it to be a letdown. I was pleasantly surprised - by not trying to duplicate the original and instead concentrating on developing the characters in a logical way this movie is a worthy successor to the first. I saw it again yesterday and I like it even more - Candy Clark is perfect, the scenes with Terry The Toad are as effecting as he was in the original, and Steve and Laurie are exactly who you knew they'd turn out to be. If you give this movie a chance to stand on it's own, and not require it to re-create the experience the feeling of seeing the first, you'll be satisfied.

Were it not for the fact that this came as a 2-dvd set paired with the original American Graffiti; were it not for the fact that I've been here in Iraq for several months and, at this point, will watch pretty much anything, I would have tossed this movie in the garbage after the first ten minutes. This movie was appallingly bad on so many levels I just don't know where to start. Poorly acted, shot, directed, written, scored, edited. My 9-year old daughter's first forays into film-making are superior to this - and she was filming the dog sleeping. (Come to think of it, I give that piece of cinematography 9 stars. But I'm biased.) If you have even the slightest appreciation for quality film-making, then avoid this piece of garbage at all costs. No character in this movie has a single redeeming quality save for the Icelandic girl who doesn't even have a single line in English. I'll not waste more of my time describing what a bad movie this is.