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Movie Info & Cast
- Robert De Niro
- Al Pacino
- Joe Pesci
- Harvey Keitel
- Ray Romano
- Bobby Cannavale
- Anna Paquin
- Stephen Graham
- Stephanie Kurtzuba
- Jack Huston
Did You Know?
- Al Pacino was offered the role of Jimmy Conway in Martin Scorsese's Goodfellas (1990). He has regretted turning down that role ever since.
- In the beginning of the movie, Frank Sheeran talks about taking 476 North out of Philadelphia on the way to picking up Russ Buffalino in Pittston, PA on the way to the wedding in Detroit, MI. At that time of this trip (presumably in summer 1975), I-476 North existed, but only as a 4 mile connector between the Schuykill Expressway (I-76) and the Pennsylvania Turnpike I-276 at Plymouth Meeting, PA. From Plymouth Meeting to Pittston, he would have likely taken PA Route 9, known at that time as the Northeast Extension of the PA Turnpike. Later, in 1996, the Northeast Extension (PA Route 9) would be renamed as I-476. Although it may be perceived as a geography error in the movie, it was perfectly possible for Frank to take "476 out of Philly" on the way to pick up Russ.
- Frank Sheeran: Hello?
- Jimmy Hoffa: Is that Frank?
- Frank Sheeran: Yes.
- Jimmy Hoffa: Hiya, Frank. This is Jimmy Hoffa.
- Frank Sheeran: Yeah, yeah. Glad to meet you.
- Jimmy Hoffa: Well, glad to meet you, too, even if it's over the phone. I heard you paint houses.
- Frank Sheeran: Yes. Yes, sir, I... I do.
Atom User Reviews
One of the few that exceeds the tremendous hype.
ANOTHER tremendous story told by an acknowledged master director and cast. superb
Between the burnished sheen of Rodrigo Prieto’s cinematography, a soundtrack full of perfectly chosen period pop music, and countless sharply observed details of place, time, and character, The Irishman establishes a world that, for all its violence and tragedy, is hard to leave behind when the last shot...finally comes.
The Irishman is vintage Scorsese, with an often sinuously moving camera, occasional break-the-fourth-wall monologues, wicked wise-guy humour, and explosions of sudden tenderness and casual violence. And its final half-hour pulls something even deeper from the filmmaker – moments of reflection, twinges of regret, worries about chances thrown away.
Scorsese's choice to make this a standalone feature and not a limited series seems mildly perplexing. Anyone hoping for the propulsive dynamism of, say, Goodfellas or Casino may be disappointed. But The Irishman is also on many levels a beautifully crafted piece of deluxe cinema.