In the 1950s, truck driver Frank Sheeran gets
involved with Russell Bufalino and his Pennsylvania
Director: Martin Scorsese
Cast: Robert De Niro, Al Pacino, and Joe Pesci, Ray Romano, Bobby
Cannavale, Anna Paquin, Stephen Graham, Stephanie Kurtzuba, Jesse Plemons,
Harvey Keitel
Release Date: November 27, 2019
Genres: Biography, Crime, Drama
Rated R for pervasive language and strong violence.
Runtime: 3h 29min
Review:
The Irishman might be best described as a Martin Scorsese supreme. This magnum opus seems to encapsulate everything from his gangster golden age populated by all his favorite actors from that era. In lesser hands, this might come off as superfluous or passé but Scorsese feels refreshed and rejuvenated. His direction is sharp, crisp and engaging throughout. You get moments, sequences and shots that recall some of his classic films like Good Fellas and Raging Bull. However, this isn’t simply retreading old tropes because you can get a sense of a more pensive and reflective director behind the camera. Similarly, his cast delivers their best work in years with the added depth of age. The much talked about deaging works for the most part even though it’s a bit jarring in the early sequences. Thankfully, that wears down over time allowing you to appreciate the performances. Watching Robert De Niro and Joe Pesci together on screen really helps highlight how well they work off each other resulting in stellar performances from both. Joe Pesci, after his long layoff, shows that’s never lost his touch for these types of characters with his age aiding his performance. De Niro looks more engaging that he has in years. His performance is both frightening and sympathetic at the same time even though his character is a moral wasteland. Al Pacino though decides to go full Pacino as Hoffa. His performance is like a mix of Scarface and The Devils Advocate’s Devil, its full decibel from the get go. The interesting thing is that after the initial shock, it actually works well for the character. The supporting cast is populated with Scorsese regulars both new and old plus an added bonus of giving Anna Paquin her best performance by making her nearly mute throughout with one solitary line. These types of decisions are true signs of a auteur still at the top of game as he creates another classic.
A
The Irishman might be best described as a Martin Scorsese supreme. This magnum opus seems to encapsulate everything from his gangster golden age populated by all his favorite actors from that era. In lesser hands, this might come off as superfluous or passé but Scorsese feels refreshed and rejuvenated. His direction is sharp, crisp and engaging throughout. You get moments, sequences and shots that recall some of his classic films like Good Fellas and Raging Bull. However, this isn’t simply retreading old tropes because you can get a sense of a more pensive and reflective director behind the camera. Similarly, his cast delivers their best work in years with the added depth of age. The much talked about deaging works for the most part even though it’s a bit jarring in the early sequences. Thankfully, that wears down over time allowing you to appreciate the performances. Watching Robert De Niro and Joe Pesci together on screen really helps highlight how well they work off each other resulting in stellar performances from both. Joe Pesci, after his long layoff, shows that’s never lost his touch for these types of characters with his age aiding his performance. De Niro looks more engaging that he has in years. His performance is both frightening and sympathetic at the same time even though his character is a moral wasteland. Al Pacino though decides to go full Pacino as Hoffa. His performance is like a mix of Scarface and The Devils Advocate’s Devil, its full decibel from the get go. The interesting thing is that after the initial shock, it actually works well for the character. The supporting cast is populated with Scorsese regulars both new and old plus an added bonus of giving Anna Paquin her best performance by making her nearly mute throughout with one solitary line. These types of decisions are true signs of a auteur still at the top of game as he creates another classic.
A
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