You ever see a three-and-a-half-hour long film and know that’s the last time you’re ever gonna see it? Yea… me too.
Look, I appreciate a lengthy epic. A film with a runtime over three hours about a subject I’m only acutely aware of, directed by Martin Scorsese, and it stars almost every actor and actress ever used in a mob movie in modern American cinema…I’m sold.
But here’s the thing:
I’m not sure if the press surrounding Scorsese’s criticisms of the Marvel Cinematic Universe was an unintentional ploy to drive interest to his film, because this particular phenomenon has been consistent with highly anticipated films this year…
And I should make clear that I agree with the Russo Brothers’ statement that no one “owns” cinema. Film is a medium for visual motion picture art, and is subjective. I critique this art form because I enjoy an artist’s interpretation and points of view of a subject, and I love the elements that makes the art “work” or just…not work, whateverthehell that means to me.
…all this to say, my expectations for the works of legends, like Scoresce and Tarantino, have dwindled given their most recent products.
“The Irishman” is about a man who is a hired gun for the Italian mob during the post-WWII America. Robert De Niro stars as the main protagonist Frank Sheeran, a family man who works his way through the Mafia ranks brushing shoulders with the corners of American history for decades. We’re introduced to Frank in his elder age in a nursing home. The camera pans through a hallway of the home, guides its way past other residents, and lands on Sheeran. He introduces himself and the narrative by breaking the fourth wall speaking directly to the audience. The decision to channel this narrative through this framing fell flat. As the momentum started to build throughout the movie using De Niro voice for narration, there were moments that cut back to older Sheeran in the home speaking to the camera and it’s a bit jarring.
This film read like a documentary. As new characters, specifically ones associated with the Mafia, were introduced, text appears describing who the person was, how long the served time in prison, and how they died (usually brutally). The documentary observation is not particularly praise as I think the aim was to build a narrative around how someone like Sheeran who did not really fit in with this organization, ethnically or otherwise, proved himself and put in THAT work overtime.
Positives:
The CGI de-aging was immaculate. There was maybe a twinge at first sight that caught me off guard, but THIS is the shit I’m looking for (looks over at “Gemini Man”). Whatever they did here and with Samuel L. Jackson in “Captain Marvel” is touch notch work.
The cast, supporting, main and cameos, are the highlight of this film. Check it, you got: Robert De Niro, Al Pacino, Joe Pesci, Harvey Keitel, Anna Paquin, Bobby Cannavale, Ray Romano, Kathrine Narducci (the mom from “A Bronx Tale”), Dascha Polanco, Sebastian Maniscalco, Action Bronson–’twas lovely to see.
Joe Pesci still got it, dawg. I’m always impressed by him, especially in roles where he’s cool-headed, patient, and serves as a moral compass even when his character is ethically-flawed. I think seeing the Pesci, Pacino, De Niro, Keitel group together in ONE Scorsese film, perhaps for the first and final time got me. That’s the thrill in seeing this film. Al Pacino is a treat for people who grew up loving his transformations into complex characters. Jimmy Hoffa was perfect for him.
The one scene that got me was the flight scene shot from the window of the plane Frank boarded on his way to settle an issue. The shot is still using the plane’s take off-prep movements to capture the stillness and seriousness of Pecsi’s character request as you view him, from the plane window, sitting in the car on the tarmac. Though you can’t visibly see Pecsi’s face, you *know* the moment is serious, and is a test of Frank’s dual loyalty.
Negatives:
The score didn’t match.
Also noticeable: the “In the Still of the Night” intro and outro music choice—cringe. 😖😖😖 Using that song in a 50s-styled mob movie is so overcooked, bruh.
Did I hit the “watch check?” Yes, and at around the one-and-a-half hour mark. If you’re gonna produce an 209-minute epic, that shit gotta bump and compel me to remain engaged. I think the work up to Jimmy Hoffa’s death was the only compelling part (the movie’s main aim), and gave the narrative of Frank Sheeran life a full-circle view, but damn at hour three I was restless.
The slow-motion shots featured throughout felt arbitrarily used and inconsistent with the messages of the moments featured. The choice didn’t feel significant to the flow of the narrative.