The performances and conversations in this movie were an embarrassment of riches, loved every second of it. Wish Plemons had more to work with but what he got was hilarious, the fish conversation in the car was gold.
No. He was referring to when he called Jo (Hoffa's wife) after the hit.
In what way? I felt like it was a sobering element to remind us that every character that wasn't the focus of the main story died violently, very few of these guys lived long, fulfilling lives. It's Scorsese doing everything in his power to de-glamorize organized crime.The only "I could have done better than Scorsese" comment I have currently is that the whole "so-and-so died in (year) from (whatever)" gimmick could have lent itself to more drama.
I thought it was nothing special, I cant even think of a scene that I'd really wanna go back and revisit while his other mob movies had plenty. De niro didn't feel menacing at all thanks to the cgi I guess, pesci was great though.
Can't say I enjoyed this movie. Way too long, could hardly hear parts of it, strange editing, aging CGI was far too noticeable. Seemed like another Scorcese movie that gets a pass because of the director
That's because the character wasn't written to be menacing. He was a very average man who became a tool for the truly menacing and corrupting forces around him with very little autonomy to call his own.
It was more the banality of evil. He was an evil man who viewed murder as just another job and a way to support his family. He destroyed lives. You feel some sympathy for him at the end, but you shouldn't. He should have died in jail.
Shoutout to this guy though:Also holy shit at the number of dudes shot multiple times in the head from 1979-1980. What the fuck was going on during that stretch?
I don't know if it's better than Goodfellas, but it's currently my favorite of all his gangster movies. This is easily one of his most densely packed movies. It's unreal that he has this, Silence, and Wolf of Wall Street all in him at his age.
Also holy shit at the number of dudes shot multiple times in the head from 1979-1980. What the fuck was going on during that stretch?
Silence and Hugo were both decently reviewed films that I hated deeply. I keep trying to give him a chance and this is the third time in recent memory that I've been let downWhat other Scorsese films got a critical pass in your estimation?
Mafia is still around and strong. You see stories about Ndrangheta on international level every now and then. And in Italy there is plenty of news about various mafia groups.Good movie but I feel it was kinda too long. Felt like I watched a whole season of a tv show.
The de-aging shit was weird and distracting. They should of just cast different actors for the young versions.
The ending was certainly poinent and sad though. I think its telling of Scorsese's view on gangsters that every almost every one of them was murdered, or died in prison. And the one that didn't, will die alone, unloved and forgotten in an old peoples home.
It gets me wondering though. What does the italian mafia of 2019 look like?
Does it even still exist in any recognisable form?
To be honest, I really didn't feel the ending. Maybe it's just because I'm cynical and I know many old people will die alone even without being mass murderers.He does die in prison, just not one with literal bars.
For a guy like that, where he ends up might be even worse.
There was a lot of organized crime violence in the US in the early 80s.Also holy shit at the number of dudes shot multiple times in the head from 1979-1980. What the fuck was going on during that stretch?
You keep repeating this and while absolutely true I don't think it matters. Narrative film is fiction and shouldn't be looked upon for learning facts. The film tells a story based in greatly embellished facts which shouldn't be taken at face value (at all) but of central importance are the themes and characters not their basis in actual history.Though it's important to remember that the book this film is based on is almost certainly bullshit, so it makes sense he would make up stories mostly about dead people.
Didn't former NYC mayor Ed Koch come in and took a hard stance against organized crime and city corruption?Government finally starting cracking down on the mob. You saw how easy they operated from the 50-70s. Once the crackdown started, mob wars, succession fights and old scores settled. It was fucking insane how much power they had. They ran everything, at least in NY from where I saw it.
I didn't mean it as a criticism of the film, I was replying to a post that asked about real-life events.You keep repeating this and while absolutely true I don't think it matters. Narrative film is fiction and shouldn't be looked upon for learning facts. The film tells a story based in greatly embellished facts it but of central importance are the themes and characters not their basis in actual history.
That scene near the end of the movie with Joe Pesci and Robert De Niro trying to enjoy prison food and Joe can't even eat bread is just so sad to watch, it's really something how much the last hour or so just becomes this painful epilogue.
It's a reminder of no matter how big, powerfu, or influential you are - we all waste away in our own ways. Very depressing scene indeed.
Also, DeNiro and Pacino was great, but Pesci killed it. Should be in the running for best supporting actor easily.
There was a lot of organized crime violence in the US in the early 80s.
Though it's important to remember that the book this film is based on is almost certainly bullshit, so it makes sense he would make up stories mostly about dead people.
Good movie but I feel it was kinda too long. Felt like I watched a whole season of a tv show.
The de-aging shit was weird and distracting. They should of just cast different actors for the young versions.
The ending was certainly poinent and sad though. I think its telling of Scorsese's view on gangsters that every almost every one of them was murdered, or died in prison. And the one that didn't, will die alone, unloved and forgotten in an old peoples home.
It gets me wondering though. What does the italian mafia of 2019 look like?
Does it even still exist in any recognisable form?
How about when he's showing the photo to the nurse, and she doesn't even know who Jimmy Hoffa is? And then De Niro says "You've got your whole life ahead of you..." That was a very poignant scene about the futility of his life.
Another interesting--if less germane--parallel between this and OUaTiA: both The Irishman and Sergio Leone's film are based on rather, shall we say, fanciful books written by former gangsters not exactly known for their truthfulness. (In the latter case, Harry Grey's--a.k.a., Herschel Goldberg--The Hoods.)Though it's important to remember that the book this film is based on is almost certainly bullshit, so it makes sense he would make up stories mostly about dead people.