The Irishman

The Irishman

The Irishman

Clocking in at nearly three-and-a-half hours, the great Martin Scorsese directs Robert De Niro in this epic true crime biography penned by the Oscar-winning writer of Schindler's List. De Niro is digitally de-aged as real-life mob hitman Frank Sheeran, who recalls his possible involvement with the slaying of Jimmy Hoffa (Al Pacino). Joe Pesci co-stars (in his first role since 2010) along with Oscar winner Anna Paquin, her The Piano co-star Harvey Keitel, Ray Romano, Jesse Plemons and Bobby Cannavale.

2019Rating: MA15+, Strong violence and coarse language209 minsUSA, Mexico
CrimeDramaTrue Story & Biography

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The Irishman / Reviews

Flicks

Flicks, Aaron Yap

While the experience of watching these senior cinema titans come together with such late-career gusto does partially elicit a nostalgic Goodfellas: Endgame vibe about it, the film is ultimately a richly layered, deliberately pensive dismantling of the myth and swagger generally associated with its creator’s iconic gangster opuses. The Irishman is, indeed, Scorsese’s daggiest movie to date, drunk on pangs of resignation and regret.

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New Zealand Listener

New Zealand Listener

It’s actually closer in tone to Silence, Scorsese’s contemplative 2016 film about Jesuit priests in 17th-century Japan. Which is befitting to the ageing gentleman behind it, and if one is prepared to sit quietly and do some work then The Irishman is a fine film. Because Marty’s not doing all the work for us.

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Stuff

Stuff

While perhaps falling short of being a classic and not to everyone's taste (there are some unhappy at its version of the events relating to Hoffa), there's no doubting that The Irishman feels like a welcome throwback to pre-blockbuster event cinema of the 1970s, when the focus was on compelling characters and stories, rather than explosions and superheroes.

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FilmInk

FilmInk

From the opening tracking shot and accompanying song – a la Mean Streets – we are reminded that we’re in vintage Martin Scorsese territory here. But the self-referential elements are sparing, appropriate and – like everything else about this phenomenal movie – pitch-perfect.

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Sydney Morning Herald

Sydney Morning Herald

The Irishman is pure cinema, all three and a half hours of it – and one of Scorsese’s jazziest, most difficult films, borrowing from many sources while riffling freely though often mournfully on the themes and techniques of his previous crime epics Goodfellas and Casino.

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Vanity Fair

Vanity Fair

I found myself reluctantly taken by the movie, and the way Scorsese uses it to maybe, just a little bit, atone for some of his own past blitheness about violence.

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Screen Daily

Screen Daily

The Irishman is vintage Scorsese, with an often sinuously moving camera, occasional break-the-fourth-wall monologues, wicked wise-guy humour, and explosions of sudden tenderness and casual violence.

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The Guardian

The Guardian

There's an almost meta-maturity, as if Scorsese is also looking back on his own career, the film leaving us with a haunting reminder not to glamorise violent men and the wreckage they leave behind.

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Variety

Variety

Martin Scorsese's "The Irishman" is a coldly enthralling, long-form knockout - a majestic Mob epic with ice in its veins.

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The New York Times

The New York Times

A monument is a complicated thing. This one is big and solid - and also surprisingly, surpassingly delicate.

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Hollywood Reporter

Hollywood Reporter

Martin Scorsese, reunites with his most totemic screen actor to tell a sprawling gangland saga that's by turns flinty, amusing and richly nostalgic.

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Time Out

Time Out

After a while, you adjust, or rather, you get tired of probing the slightly-off evidence of your eyes and the headache it produces. There's a lot of fun to distract you.

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