Erin Go Brawl [THE IRISHMAN Film Review]

[*note: I drove 180 miles round trip to see this film in a small independent theater in Minden, NV. I am pretty certain that I wouldn't have been able to have streamed it in one fell swoop at home and feel that it definitely benefited from being seen on the Silver Screen. For all his bluster about "cinema", I am still questioning Scorsese's decision to work with NF and his absence in the discussions between NF and the major theater chains in regards to the theatrical distribution of the film. He had time to diss Marvel films, but couldn't rally to have his film more accessible on the Big screen?]

While perhaps not nearly as epic as The Godfather or Goodfellas or even Scarface, Martin Scorsese’s latest excursion into gangster cinema is still an engaging, slow boil historical yarn about the man who allegedly killed Jimmy Hoffa.
While the length of the film, it’s limited theatrical run, and the expensive digital technology used have all come under fire, those are mere side notes to the film itself, which is mostly a tour de force of acting and generally well-timed pacing.
The story alone should keep anyone on their toes as it bounces between eras without pause, testing one’s knowledge of American history, specifically in the periods between post-WWII and the ‘80s. It’s this hopscotch through time that elicited the use of computer enhanced trickery to make the core trio of actors--Robert DeNiro, Joe Pesci, Al Pacino--seem to change age at the drop of a dime. I understand Scorsese’s reasoning behind using the technology, as it allows the three actors to carry their rapport with one another throughout the film, thus never breaking the intense chemistry they have between them. Yet at the same time it’s also a bit disconcerting. While not necessarily dwelling in the Uncanny Valley, the film certainly finds itself  stuck in an Uncanny Gully more often than not. I personally found the DeNiro de-aging to be the most distracting. It didn't look like they did much CG work on Pesci. And Pacino's digitization was slightly more naturalistic than DeNiro's. I am not 100% sure how much they digitally enhanced other actors as some of the work looked practical (the Fat Tony character and Bobby Cannavale's character, among other supporting players, appeared to be the result of make-up, but don’t quote me on that). Thankfully, the DeNiro de-aging more or less takes place in the first act and once your eyes adjust to the digitized anomalies you easily get lost in the serpentine story and the bravura acting.
The acting here is superb and the performances from the three leads is key to the success of the film. I have to admit that in the past 20 years both DeNiro and Pacino regularly seem to just be “themselves” onscreen these days; it’s as if they are playing the same character over and over again. Yet with this film I believed each of them in their respective roles. DeNiro appears a little less aggro than normal and Pacino, while still all bluster and bravado, seemed to be toning it all down a bit, as well. Pesci was pure gold, delivering a snarky, yet smooth demeanor that, quite honestly, completely eclipses his co-stars.
As for Marty’s hand in the game, at first his direction seems simple and understated, but you soon realize that he uses close-ups to great effect, keeps the shots tight, and lets the story unfold economically. It doesn’t hurt that the screenplay, for the most part, is taut and terse. Additionally, the pacing is wonderfully nuanced and manages to flow at just the right tempo. And it’s all wrapped in a great score by Robbie Robertson. In fact,  the way Scorsese chose to use the music was really interesting; sometimes it’s blaring non-stop, other times it fades into the background.
The story more or less moves along at a good clip, creating a distinct sense of the time and place in a semi-linear fashion. There is, however, one standout segment involving “Crazy” Joe Gallo, which feels somewhat out of place. A friend of mine remarked that “Crazy Joe came in hot, right?” And he nailed it. The introduction of this character is abrupt, lacking any real exposition as to how he really fits into the story. And no sooner is he harriedly introduced [SPOILER ALERT!!!] than he’s killed off. In retrospect I understood that the entire film is meant to be Frank “The Irishman” Sheeran’s (portrayed by DeNiro) recollection of his life, so he is remembering things in a haphazard manner and may not be an entirely honest narrator, but this sequence in the film just didn’t feel fleshed out enough. Honestly, they could easily have left this bit out and the film would have probably flowed a little more evenly.
As I stated earlier, the real reason to watch this film is the acting, but also perhaps because of the fact that this might be the celluloid swan song in terms of seeing these actors and this director involved in a project together. Hell, according to lore both Scorsese and DeNiro had to literally twist Pesci's arm to come out of retirement to make the film.
As for the violence, it's pretty much what you would expect from an R-rated gangster flick. There's some gun play, some head stomping, and a wee bit of blood and splattered brains. But none of it is Tarantino level.
Oh, and what about the wopping 3-and-a-half hours (without an intermission)? When the credits rolled it didn’t seem as if I had just sat through 210 minutes of gangster machismo. Sure, Scorsese could easily have trimmed 30-minutes from the running time (the Joe Gallo section, imho), but he could just as easily have expanded the film by 30-minutes to flesh out some of the weaker elements and it still would have been watchable. All in all, The Irishman is an interesting expose about men who put their “jobs” before their families and behave badly, all in the name of brotherhood and a distinct sense of honor and obligation.

RATING: 3.5 (out of 5)
RIYL: Goodfellas; Casino; Che; Mesrine; The Godfather; Carlito’s Way; Scarface; State of Grace; The Krays