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The Irishman: Review

by Emily Keen

It’s a meticulous and rare assortment of three legends onscreen directed by another legend. Martin Scorsese brings together Robert De Niro, Al Pacino and Joe Pesci for an all-encompassing mob thriller. Don’t let “Thriller” diminish your excitement because this film is much more than just another drug lord or bounty hunter life history. But it has definitely got a lot to do with various phases of history.

Frank Sheeran is introduced to us as a crumbling old man now residing in an old age home and regurgitating his deeds which he regrets and admires at the same time. The man now in his 80s takes us through his life as a war veteran and how fate introduces him to Russel Buffalino (Pesci) and then Hoffa (Al Pacino). Filling the dramatic arcs of the story is a road trip full of cigarette breaks and flashbacks of blood spattering past.

The Buffalinos and Hoffas are both well-known mob families and Frank Sheeran is their trusted aide. The film takes us through the phases of the lives of these teamsters and their involvement in some of history’s important events. The rise and fall of John F. Kennedy, for instance, is a peculiarly narrated tale showcasing the participation of the nation’s most powerful union boss in it. It’s almost as it is if meant to invoke dark thoughts about political homicide.

Franks’s daughter and Russel’s goddaughter Peggy is a small but significant part of the story. She hardly expresses her thoughts in front of the mobster men she grew up watching.  But her fierce gaze is a testimony to her conditioning. Anna Paquin does an incredible job as Peggy.

The story of foreign hitmen who ruled suburban regions of America in a lengthy but a fabulous farewell to the stories of the mobsters. Scorsese has brilliantly utilized the iconic trio to elevate the characters. The narrative has a somber pace native to Scorsese’s style of film making. The Irishman excels in conveying the ultimate message that men who only speak the language of violence do not mean anything to anyone.

Even with all the violence and bloodshed, it seems worth our time to understand the impulses that drive these mobsters. The film definitely goes down in the list as one of the greatest of Scorsese epics.

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The Irishman(2019) Trailer

by Kaylen Summers

The Irishman is the upcoming biographical crime film based on the book I Heard You Paint Houses. The movie focuses on Frank Sheeran, a mob hitman, and World War II vet. He is involved with the Bufalino crime family and plays a key role in the disappearance of labor leader Jimmy Hoffa, his longtime friend.

Releasing Date: November 27

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James Gunn Says It’s Okay if Genius Filmmakers Don’t Like Superhero Movies

by Emily Keen

Martin Scorsese taking a dig at Marvel movies, calling them “not cinema” has now escalated into a war of words between the directors who are for and against the comments.

In his resolve to support Martin’s thoughts, Francis Ford Coppola took a hard hit at the comic book movie universe. He called the films “Despicable”!

 

 

Speaking to a Journalist in Lyon where he was awarded the Prix Lumiere for his contribution to cinema, Coppola said:

“When Martin Scorsese says that the Marvel pictures are not cinema, he’s right because we expect to learn something from cinema, we expect to gain something, some enlightenment, some knowledge, some inspiration. I don’t know that anyone gets anything out of seeing the same movie over and over again. Martin was kind when he said it’s not cinema. He didn’t say it’s despicable, which I just say it is.”

James Gunn particularly could not stay quiet at the sound of this obnoxious criticism.

The Guardians of Galaxy director, however, did not call out to Coppola directly. He did but give quite a dignified response through an Instagram post using the word “Despicable”.

The post materialized with an image of an emotional scene shared by Groot and Rocket accompanied by captions in the vein of “a movie may not necessarily resonate across demographics”. He also highlighted how perceptions change with generations by citing examples of how our grandfathers and other elderly thought differently about movies that are in today’s time, considered classics. He ended by saying that if genius minds are not able to appreciate a movie loved by masses, it is still okay!

Here is James Gunn’s Instagram post with a statement responding to Coppola’s comments.

The dramatic exchange of emotions first began with Martin Scorsese saying in his interview with ‘Empire Magazine’, that he has had futile attempts of watching Marvel movies. He then doubled down the attack by classifying them into theme park adventures.

The Irishman director’s comments invited a twitter backlash from multiple Marvel actors and fans.

James Gunn had also responded to Scorsese’s comments saying

“Martin Scorsese is one of my 5 favorite living filmmakers. I was outraged when people picketed The Last Temptation of Christ without having seen the film. I’m saddened that he’s now judging my films in the same way.”

We do not know if Gunn’s response will settle this heated debate. Marvel is currently the biggest entertainment company in show business. It has given audiences around the world, a universe full of hope that is now a part of their lives. So it’s hard to say if fans will let go of an attack on something they have cherished for years, so easily.

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Truth Revealed! Here Is Why Martin Scorsese Doesn’t Do Director’s Cuts

by Kaylen Summers

Martin Scorsese is famous for the brilliant movies he had made over the ages. The original works from the iconic director are a fine example of this directorship and visually vibrant storytelling abilities. But, have you ever wondered why we never got any director’s cut of his movies?

Apparently, it seems like Scorsese believes that the director’s cut of a movie is the one that moviegoers experience in the theater. He believes that some directors go back to their already released movies as if the product is not finished yet. He states:

“The director’s cut is the film that’s released – unless it’s been taken away from the director by the financiers and the studio. The (director) has made their decisions based on the process they were going through at the time. There could be money issues, there could be somebody that dies (while making) the picture, the studio changes heads and the next person hates it. Sometimes (a director says), ‘I wish I could go back and put it all back together.’ All these things happen… But I do think once the die is cast, you have to go with it and say, ‘That’s the movie I made under those circumstances.”

Obviously, no studio head will be asking Scorsese to rethink his work. However, that’s not the case for other directors who will have to suck it up and let studio interferes ruin their original visions. Talking about the issue, the director had this to say:

“It’s an interesting thing. We would have loved to see an extended version of a number of films in the past where scenes were cut out. Now (those scenes were) cut out from the director’s cut, not from the rough cut. There’s a big difference. (Sometimes to) capitalize on (a film’s popularity) and exploit it they say, ‘This is the director’s cut.’ You should take a look at Sam Peckinpah’s Pat Garrett and Billy the Kid.

I saw the full version a few days before it opened at a meeting and it was two hours and 20 minutes or so. Then MGM released their version and it was 90 minutes. We all said, ‘Oh no, it was a masterpiece,’ and wished it could be saved. The editor saved a copy and what you see now is what we saw in that meeting. That is the director’s cut. And if the editor said there were another 20 minutes that Peckinpah wanted to keep in there, I would have loved to see those 20 minutes. So I understand the idea of an audience wanting to be entertained for another 20 minutes in that world.”

Unfortunately, the term “director’s cut” is often misused as marketing term these days. Corporate studios are looking to capitalize on the audiences’ love for the craft and want audiences to go out and buy the digital or Blu-ray copy of their favorite movies.

It was in an interview for the promotion of his upcoming film, The Irishman that Martin Scorsese spoke about releasing director’s cuts. His upcoming film is already over three hours long, so we are definitely not expecting a four-hour-long director’s cut for it.

The Irishman is scheduled for a limited theatrical release on November 1, 2019, and will be available on Netflix from November 27, 2019.

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The Irishman: De Niro Recreates Iconic ‘Goodfellas’ Scene to Test De-Aging CGI

by Kaylen Summers

A lot of surprises awaits fans as Martin Scorsese’s The Irishman is finally arriving in cinemas and on Netflix. The film will feature the iconic cast of Robert De Niro, Al Pachino and Joe Pesci in a multiple-decade-spanning mob story, with the help of extensive, revolutionary de-aging CGI.

Scorsese is known for pushing the boundaries of cinema. However, telling a story of characters from their 20s to 80s is a huge swing for even him. It is in this predicament that the filmmaker looked into his own past before starting the work.

According to Industrial Light & Magic’s Pablo Helman: “We made a little set that looked a little like the original film, and then Bob got going. He did his monologues and soliloquies and different expressions. ‘Get rid of the fur coat! Get rid of the Cadillac!’ Then he went through a series of computer processes.”

Scorsese and the others recreated an old scene from the original Goodfellas to check how effective the de-aged tech will be. It was only after watching the de-aged version and the original scene back-to-back that they decided that the approach would work for the film.

“We made a little set that looked a little like the original film, and then [De Niro] got going,” Scorsese explained, “He did his monologues and soliloquies and different expressions… Then he went through a series of computer processes”.

The Irishman marks the ninth time Scorsese and De Niro collaborating. It was in 1995’s Casino that the filmmaker and his trusted muse worked together the last time. The movie also pairs De Niro with his fellow crime-cinema icons Al Pacino and Joe Pesci in the cast. The three actors have worked together before, with Pacino and De Niro previously working for Heat, and De Niro and Pesci sharing screen for Scorsese’s Raging Bull, Goodfellas, and Casino.

The story for The Irishman is adapted from Charles Brandt’s book I Heard You Paint Houses by Oscar-winner Steve Zaillian (Schindler’s ListGangs of New York). It chronicles the life of hitman Frank “The Irishman” Sheeran through his days of being a young WWII veteran to his career as a hired gun for the Bufalino crime family and involvement in the disappearance of labor leader Jimmy Hoffa (Pacino).

Though there is no doubt that the movie will be another cult classic, the production budget for the effect and de-aging De Niro and his costars was more than $159 million. This, in turn, made it Scorsese’s most expensive film to date. Either way, Netflix seems to be happy with how things turned out. With the movie premiering at the New York Film Festival, we will be seeing it in select theaters for a few weeks in November and then on the streaming service.

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‘The Irishman’ To Have A 210 Minutes Long Runtime

by Kaylen Summers

Yep! You heard it right. Martin Scorsese’s star-studded The Irishman will clock in a bum-numbing three hours and thirty minutes. Even though the movie is inching closer to its November release, not much has yet been revealed to about the flick. However, the newly disclosed details about the movie’s runtime will surely give fans a heads-up before its official release.

When compared with other ‘long runtime movies’, The Irishman is less than Gone With The Wind (238 minutes), Once Upon A Time In America (229 minutes) and Lawrence of Arabia (216 minutes). However, it is nine minutes longer than Lord Of The Rings: The Return Of The King and 10 minutes than The Godfather: Part II.

It was only last month that the film’s first trailer got released, featuring the first glimpse of a de-aged Robert De Niro. Even though we haven’t heard much about the movie since then, it is obvious now that the film has an incredibly impressive cast including De Niro, Al Pacino, and Joe Pesci. It’s also one of Scorsese’s priciest films yet, with a reported budget of $160 million (£130m).

Though the movie gets its premiere at the New York Film Festival on 27 September, it will only be available briefly in cinemas in the UK from 8 November. However, from 27 November onwards, the movie will begin streaming on Netflix.

Here is the official trailer for The Irishman:

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The Irishman (2019) Trailer

by Kaylen Summers

The Irishman is the upcoming biographical crime film based on the book I Heard You Paint Houses. The movie focuses on Frank Sheeran, a mob hitman, and World War II vet. He is involved with the Bufalino crime family and plays a key role in the disappearance of labor leader Jimmy Hoffa, his longtime friend.

Releasing Date: November 1

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Martin Scorsese‘s ‘The Irishman’ To Premiere At NYFF. See First Look Images

by Kaylen Summers

From Taxi Driver to Goodfellas, director Martin Scorsese is known for his crime-filled epics. The latest addition to the list will be the highly anticipated The Irishman which will have its world premiere at this year’s New York Film Festival.

The movie reunites Scorsese with Robert De Niro and Joe Pesci, and will also mark his first collaboration with Al Pacino. What else do we do to be excited, right? Well, there is more. The movie will also feature a younger version of actors with de-aging VFX from ‘Industrial Light and Magic’ and cinephiles had been aching to know how it looks. Fortunately, the makers have finally decided to release a first look from the movie. Though they are still putting the finishing touch on extensive VFX work for the movie, the newly released first look images look sleek.

IrishMan-First Look

First Look- The Irishman

The two images released feature Pacino’s Jimmy Hoffa and De Niro’s Frank Sheeran. The Irishman will also star Harvey Keitel, Bobby Cannavale, Anna Paquin, Ray Romano, and Jesse Plemons. The movie is all set to premiere at the end of September. However,  there is no release date set for theaters or Netflix at this time.

Talking about the movie premiere at the New York Film Festival, Martin Scorsese said: “It’s an incredible honor that The Irishman has been selected as the Opening Night of the New York Film Festival. I greatly admire the bold and visionary selections that the festival presents to audiences year after year. The festival is critical to bringing awareness to cinema from around the world. I am grateful to have the opportunity to premiere my new picture in New York alongside my wonderful cast and crew.”

The movie is based on true events and is adapted from the book I Hear You Paint Houses by Charles Brandt.  Academy Award-winning screenwriter Steven Zaillian will be penning the script. According to the New York Film Festival, The Irishman is a “richly textured epic of American crime, a dense, complex story told with astonishing fluidity.”

With that being said, we can’t wait to see the movie soon and are hoping for a trailer from the movie soon before the premiere. Don’t worry! We will make sure that you won’t be missing any of the action.

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The dark heroism in Taxi Driver, Fight Club and Mr.Robot

by Mishika Goel

The gradual decline of society, unhinged moral compasses, sleazy reality. One man against the rest of the world. Loneliness, the silent killer.

Martin Scorsese’s Taxi Driver paints a world that is sadly not strange to us.

We, like the New York taxi cabs, are trying to find our place, our destination amidst the chaotic reality. Or maybe some of us are like Travis Bickle, the anti heroes in our own stories, trying to recover from our loneliness while losing our minds in the process, believing we can save the world, fix broken lives while letting our own get shattered soundlessly.

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Travis, like Tyler Durden from Fight Club or Elliott Alderson from Mr.Robot is glum with the way things are, media and celebrities making us want to buy things we don’t need, the government and corporations making us pawns in their game of chess, social media advertising us as a product in the market, all of these things destructing our purpose of existence, and making us give in to the bureaucracy.

These anti heroes are drowning in their own forlorn world, convinced that they are destined to change the system. Maybe it’s just the loneliness driving them to prove themselves to the world, to make others acknowledge their existence. The end sequence in Taxi Driver, where Travis is shown being celebrated as a hero, being finally appreciated is a testimony to that fact. Had he succeeded in his attempt to assassinate Palantine, the media would have presented him as a deranged anti-national. After all, the media shows us what it wants us to believe. It sells, we buy. Consumerism is literally consuming us, every hour of every day, trapping us into a chasm while we go on believing that it’s the best for us.

 “What is it about society that disappoints you so much? “
“Oh I don’t know, is it that we collectively thought Steve Jobs was a great man even when we knew he  made billions off the backs of children?
 Or maybe it’s just that it feels like all our heroes are counterfeit; the world itself’s just one big hoax. Or is it that we voted for this?”
 (From Mr.Robot)

Maybe people like Travis get so sick of the world; they start living in a fugue state, like Tyler and Elliott. They detach from reality, thinking that they can change the reality. Ironic, isn’t it?

Travis is aware of the fact that he’s lonely, much like Tyler, who finds his escape in a fight club by venting out his anger and gaining a sense of purpose, or like Elliott, who is just one among the thousands of employees at E Corp, being choked by bureaucracy and political games.

“You talking to me? Then who the hell else are you talking to?

   You talking to me? Well I’m the only one here.”
    (Travis says this as he looks into a mirror)

This scene implies just how lonely he is. It makes us feel sorry for him, but there’s a strange sense of fear too, as we see him descend into madness.

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These complicated characters represent our deteriorating society. They don’t realize the magnitude of their actions, the impending consequences. What is it that drives them to go for it anyway? Is it just sheer will to revive the morality? Is it because they believe they will only be accepted and appreciated in the society
they create? Or is it just because they are lonely and need a change not only in the society but also in their own lives?

These vigilantes’ desire to bring a change does connect to us indeed. We realise that we are living in a similar society, the walls are crashing down and there’s a need for a radical change. But unlike them, maybe we are too afraid of losing our control over the Elliot within us and giving way to Mr.Robot instead. These stories appeal to us not only because we connect to them, but also because these characters do what we aren’t able to, putting on the anti hero mask and bringing down the society, even if it ends up changing their own nature.

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