With his longest film to date, Martin Scorsese’s three-and-a-half-hour crime saga The Irishman allows the legendary director room to stretch his creative talents in ways we’ve never seen, even from masterpieces like Goodfellas and The Last Temptation of Christ. You can feel in every frame the mastery over the art form that the nearly-octogenarian Scorsese commands from his half-century of making movies. The film also aches with a sense of remorse and regret which comes from its subject, mafia hitman Frank “The Irishman” Sheeran. Scorsese has always been interested in exploring the wages of his characters’ sins, but that’s even more acute here in The Irishman.
