Critics consensus: An epic gangster drama that earns its extended runtime, The Irishman finds Martin Scorsese revisiting familiar themes to poignant, funny, and profound effect.Metacritic: 92/100 (23 critics) "must-see"
De Niro’s always at his best in the context of a Scorsese-mandated tough-guy routine, and Frank Sheeran gives the actor his most satisfying lead role in years. Sheeran appears in virtually every scene, and the story belongs to his colorful worldview the entire time. He may be an aging man telling tall tales, but that puts him in the same category as the one behind the camera. Sheeran, however, lost touch with his world long before he left it. With “The Irishman,” Scorsese proves he’s more alive than ever.-Eric Kohn, IndieWire: A
Despite the movie's many pleasures and Scorsese's redoubtable directorial finesse, the excessive length ultimately is a weakness. Attempts to build in social context during the Kennedy and Nixon years, at times intercutting news footage from the period, aren't substantial enough to add much in terms of texture. The connections drawn between politics and organized crime feel undernourished, and the movie works best when it remains tightly focused on the three central figures of Frank, Russell and Jimmy. Netflix should be commended for providing one of our most celebrated filmmakers the opportunity to revisit narrative turf adjacent to some of his best movies. But the feeling remains that the material would have been better served by losing an hour or more to run at standard feature length, or bulking up on supporting-character and plot detail to flesh out a series.-David Rooney, The Hollywood Reporter
Martin Scorsese’s “The Irishman” is a coldly enthralling, long-form knockout — a majestic Mob epic with ice in its veins. It’s the film that, I think, a lot us wanted to see from Scorsese: a stately, ominous, suck-in-your-breath summing up, not just a drama but a reckoning, a vision of the criminal underworld that’s rippling with echoes of the director’s previous Mob films, but that also takes us someplace bold and new.-Owen Gleiberman, Variety
And the big ticket world premiere at this festival is its opening-night film, The Irishman, a nearly three-and-a-half-hour gangster epic from New York’s own hero, Martin Scorsese. The Irishman is less literal about its meta moodiness than Pain & Glory is, but it still speaks disarmingly quiet volumes about what the autumn of life might mean for its creator.-Richard Lawson, Vanity Fair
For much of its duration, The Irishman covers familiar ground but is slickly entertaining, if a little repetitive in the third hour. 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.-Peter Bradshaw, The Guardian: 4/5
Ultimately, “The Irishman” is a major success for Scorsese—not only does it incorporate the best aspects of his past crime dramas and their thrilling energy, but it adds context to those films and wrestles with their legacy resonantly. In a way, “The Irishman” fills in the gaps between “Goodfellas” and “Casino” to tell the overall story of the mob’s rise and fall in postwar America, but it does so while anchored to one man’s story and morality. The law never catches up to Sheeran—not for the real damning stuff anyway— but as Scorsese demonstrates with profound solemnity, he cannot outrun his conscience.-Joe Blessing, The Playlist: A
Nothing this misshapen ever flies—Scorsese once managed to make a movie called The Aviator that was similarly overburdened—yet his all-over-the-place enthusiasm plays nicely against the material’s death stench. Tidy as it may be to expect, Scorsese doesn’t need to cap his career with a sign-off to the gangster epic; that would be way too sentimental for him. What The Irishman does become, in its final hour, is something better, a film about broken trust, to family and God. De Niro’s Sheeran, like the monks of Scorsese’s magnificent Silence, wrecked by spiritual compromise, can't express his pain. This may not be why the average fan comes to a Marty movie, but it’s the statement this director, now 76, feels like making. After so much brilliance, Scorsese is being too hard on himself (maybe this review is too), but when The Irishman is about doubt, it’s as personal as it gets.-Joshua Rothkopf, Time Out: 4/5
People will want to see The Irishman because of De Niro, Pesci, and Pacino all in a mob movie again, directed by Martin Scorsese. And, boy, yes, that’s there. In the scenes where they are younger, the de-aging is … pretty good. I’d say the best I’ve seen so far. But it’s one of those things that if you stare at it, yes, you can see the imperfections – especially when De Niro or Pesci are acting alongside, say, a non-de-aged Ray Romano. But you do get used to it. And the way I look at this is, well, this is the small price to pay to get all these actors together again to tell this story. To star in Martin Scorsese’s phenomenal film about the price we all pay for our sins of youth … even if you or I didn’t kill Jimmy Hoffa. The Irishman is terrific and Netflix got their money’s worth.-Mike Ryan, Uproxx
As much as they take special care to tell the audience that their characters are rotten to the core, Goodfellas and Casino and another spiritual relative, The Wolf Of Wall Street, have been misunderstood as glorifications; it’s an inevitable consequence, perhaps, of following ugly men with occasionally glamorous lives. Scorsese takes no such chances with The Irishman, a crime epic that pushes further forward in time than most, to a truly ignoble end. Eventually, it reminds us, we’re all just fitting ourselves for coffins.-A. A. Dowd, Uproxx: A-
The film – at three hours and 19 minutes – never flags. The Irishman may not be as groundbreaking as Mean Streets or Taxi Driver, but then again, what is?-Caryn James, BBC: 4/5
Scorsese is so adept at storytelling, and his cast is so unbelievable, that the film, which clocks in at 209 minutes — even longer than The Return of the King and Avengers: Endgame — barely feels its length. The Irishman feels more like being caught in a dream or reminiscence, with all the tenderness we’re willing to afford in those in-between hours. Only Scorsese and his assembled cast, not to mention longtime editor Thelma Schoonmaker, could bring that all into reality.-Karen Han, Polygon
Some may balk at the 209-minute runtime, but there’s never a moment where this story drags. Indeed, the three-plus hours practically fly by, because we’re so swept up in this decades-long journey. There’s not a single second wasted here, because one gets the sense that all the characters are hanging on for dear life – literally. As the years tick on, and their bodies fail them, The Irishman‘s main players find themselves closer and closer to oblivion.-Chris Evangelista, /FILM: 10/10
Five decades is a lot of history to hold together, and it could have easily crumbled. Remember “Gotti”? But Scorsese is at the top of his game here. His film is never boring, and it explores some unexpectedly deep themes for mafiosos.-Johnny Oleksinski, New York Post: 4/4
With The Irishman, director Martin Scorsese proves to be in an alluringly funereal mood.-Keith Uhlich, Slant: 3.5/4
There is no arguing that The Irishman is a masterpiece. It is Scorsese revisiting themes seen in his past work with new elements of excitement, despair, and wit. The great performances and incredible filmmaking make this fictionalized tale of Frank Sheeran a story to end the decade, one that has seen many changes within the film industry — and hopefully introducing a new era of Martin Scorsese.-Shea Vassar, Filmera: 5/5
For the first two and a half hours of its three-and-a-half-hour runtime, The Irishman is clever and entertaining, to the point where you may think that’s all it’s going to be. But its last half-hour is deeply moving in a way that creeps up on you, and it’s then that you see what Scorsese was working toward all along.-Stephanie Zacharek, TIME
A monument is a complicated thing. This one is big and solid — and also surprisingly, surpassingly delicate.-A. O. Scott, The New York Times
Scorsese is probably the last big-budget filmmaker who mostly declines to tell the audience what to think, much less boldface and underline why he’s telling us a story about self-serving criminals and whether he personally condemns them. “The Irishman” doesn’t break with that tradition. The opportunity to sit with the movie later is the main reason to see it. For all its borderline-vaudevillian verbal humor and occasional eruptions of ultraviolence (often done in a single take, and shot from far away) it feels like as much of a collection of thought prompts and images of contemplation as Scorsese’s somber religious epics “The Last Temptation of Christ,” “Kundun” and “Silence.” God is as tight-lipped as Frank.-Matt Zoller Seitz, RogerEbert.com: 3.5/4
| 1-4-1988 | 1-11-1988 | 1-18-1988 | 1-25-1988 |
I apologize for that one and will quit using the term. Actually the term abortion for a bad match is a business term just like jobber, mark, babyface and the rest. But there are a few business terms (mainly for ethnic wrestlers and ethnic fans) which are in bad taste that I don’t use, so I’ll add that one to the list.
DiBiase will interfere and Andre will pin Hogan on 2/5, however Jack Tunney will prove he can’t be bought and hold the title up so Ted doesn’t get the title, and order a rematch in a cage at WM4 so Ted can’t interfere (and also so Andre can lose without doing a job). Hulk will win on a fluke, and they’ll run Hulk vs. Andre over the summer in your local cities after Hulk gets back from playing Hulk Hogan in the movies.
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