My thoughts on The Irishman will ramble like the film itself.
1- I think no intermission speaks to the lack of chapters, to the lack of big story arcs. Does a movie that’s 209 minutes long need an intermission? Even if you don’t need to use the john, that’s a long time to sit. Longer films of yore had intermissions: Lawrence of Arabia, 2001, Patton, and, it was rumored, The Hateful Eight. But those movies all had significant story movements. Chapters, if you will. Like a novel. Or a good epic/saga-like film. Such sweeps don’t exist in The Irishman. The film starts and just goes in a somewhat monotone fashion until it’s done. No intermission is criminal.
2- Yes, monotone. But there’s a lot going on. And it’s not exactly draggy. As long and big as it is, The Irishman is not hard to follow and hold one’s interest, more or less, for the whole length. It’s not boring.
3- I felt that all the star power was not used that well. Pacino, yes, because he plays Jimmy Hoffa, a larger-than-life character. The De Niro and Pesci characters I thought should have been played by younger actors. I didn’t entirely buy their act, though I give some credit for the depiction of aging.
4- One big problem is that it’s hard to become emotionally invested in the Irishman/De Niro’s character.
Think about The Departed. You’re pulling for the good guy, the DiCaprio “good cop.” You’re not pulling for anyone in The Irishman. They’re all pretty much a bunch of weasels, and not even the fun quirky type of weasels you can pull for in any way. So that even more is why it’s a big so-what. Somehow in Raging Bull, even though Jake La Motta was a jerk, you were made to care about him a little. You’re definitely pulling for our hero/anti-hero in Breaking Bad. In The Irishman, I found myself glazed over because I just didn’t care, other than as a point of interest.
It’s a personal odyssey, but it’s not thrilling enough to be a personal thriller. Not round, but flat.
5- The worst sin: I don’t think anyone’s going to come back in 5 or 10 years and say oh what a great movie that was. There’s nothing particularly memorable or novel about it. There’s no a-ha! moment. There’s no classic quotable line or citable scene. It was all rather hum-drum. Well-executed, but humdrum.
6- The Irishman never plunges into a juicy, thrilling story like The Departed. That kind of lock-in setup never happens. The film just plugs along. However, the meditative moments that draw the film to a close combine with the earlier highlights and better sequences to raise the whole into positive territory, if barely.
7- Captions are placed over characters who will meet a usually violent end, even though those characters have little or nothing to do with the story. They’re introduced on screen, with a note on their demise, and proceed to have no import.
8- The film’s only title presented on-screen (prior to end credits) is “I Heard You Paint Houses.” This is code for whacking those who need to be whacked. Again, if Scorsese had any sense of grandness we’d see intro titles. And why “I Heard You Paint Houses”? Like that’s a big-time title. Of course there’s no intermission. We couldn’t even get titles.
9- On Netflix. Back to point 1. There are big plot points, but the film just isn’t built in a way that lends itself to an intermission. Or maybe it does, if the desire were there. One may wonder if the film was built this way to make the theater-going experience as uncomfortable as possible. So that Netflix could make a point: how much better would this be to watch at home? Locally, in all of San Diego county, the only place showing the film was the Landmark Hillcrest, the local art house. Like a Scorsese film starring De Niro and Pacino is some kind of indie.
The Landmark features non-reclining seats that if anything are less comfortable than average. So I said if you can’t beat em, join em. I tried to stay with the film best I could, taking no break in the last 2 hours of the film. And, I admit it worked well to watch at home. Unlike Roma, there’s not a ton of long shots with detail that is missed on your home screen.
It would seem that this type of release will become more and more the norm. It’s a little sad. I give A24 grief now and then, but they, along with Fox Searchlight, Blumhouse and a couple other studios, are keeping the theater alive with movies other than Marvel and animated releases.
10- Marvel movies aren’t cinema. In significant vectors, neither is The Irishman. In just as many other vectors it is. There’s a lot of good production value here — would we expect anything less? I hardly loved it, but at least we’re not seeing the downward spiral à la Oliver Stone.
11- A lot of caveats on this, but on balance: 6/10.
Comparison Notes: The Departed, Mystic River, Donnie Brasco, Ghost Dog: The Way of the Samurai, Mad Men, Breaking Bad, JFK, The Drop