13+ more The Irishman Reviews – Named Best Film of 2019 by New York Film Critics Circle

2019 still has three plus weeks left, but the Best of 2019 awards are starting to filter in and the Best Film of 2019 is being awarded by The New York Film Critics Circle to ….

The Irishman ⭐️⭐️⭐️⭐️

They have some other curious picks like Best Actor — no to Joaquin Phoenix — to Antonio Banderas in Pain and Glory (haven’t seen yet), Best Screenplay to Quentin Tarantino for Once Upon a Time .. in Hollywood ⭐️⭐️⭐️ Best Actress to Lupita Nyong — not Renee Zellweger — in Jordan Peele’s Us (haven’t seen yet) and Best Director to the Safdie brothers for Uncut Gems (not released yet). No awards to 1919, Knives Out ⭐️⭐️⭐️⭐️ or Jojo Rabbit⭐️⭐️⭐️½

So, booting up another post to share more on this $159 million Netflix Original movie, The Irishman. Haven’t seen it yet and have Netflix? Where have you been? Get to it, already. You’re missing an award winning gem!

Maybe in my critique, I spent more time talking about the negatives than the positives. Let me say this again: the third act of this film is my favorite of anything else I’ve watched in 2019. That’s why this movie is #3 on my best of 2019 list right now. I put two other films ahead of it, because both moved me in different ways and were better overall stories told than this one (all three acts).

Yes, it’s 3 1/2 hours and that runtime is daunting, but the beauty is you can watch it in parts. Watch the first hour, then the second hour, and finish with the final act. Or watch up until Al Pacino enters the picture as Jimmy Hoffa, and then watch the rest in one sitting. Neal Brennan on Twitter has divided The Irishman into a four part miniseries, if you want it even chunked up further:

The Irishman divided into a four-part miniseries with timestamps

Seems crazy to me that we have four episodes of The Mandalorian and those four episodes combined + the upcoming fifth episode this Friday are not as long as The Irishman, but hey, it is what it is. Martin Scorsese made the film at the length he wanted to make it and not even an editor that has worked with him on other films could edit this down any shorter.

One of my only other criticisms about the film is that I wished there had been more family scenes in the first two acts, setting up that amazing third act punch and power. De Niro acknowledges that there could have been more parts for Anna Paquin and him: “She was very powerful and that’s what it was,” De Niro tells USA TODAY. “Maybe in other scenes there could’ve been some interaction between Frank and her possibly, but that’s how it was done. She’s terrific and it resonates.”

Anyway, it’s good to see a Netflix Original movie winning Best Picture. I’ll admit being a bit bummed out seeing these Best Of lists before 2019 has finished, but I guess editors want to get a jump on January 2020 for their Google SEO.

Let’s see what more of the moviegoer audience are saying …

Reviews by Others

As warned with almost all reviews, there could be SPOILERS … so proceed carefully from here on out …

  1. alexwrightmovieman: “Through Scorcese’s masterful filmmaking, it’s safe to say that he has immortalized the long forgotten Jimmy, along with such characters as Howard Hughes, Travis Bickle, and Jake LaMotta.”
  2. Ashby Reel: “…hits all the right notes and has restored my faith in Martin Scorsese as a director. It has many of the classic elements of Scorsese’s previous gangster works. The ensemble cast, the catchy soundtrack, the startling violence and the in depth character study. This is all tied beautifully together by stylish cinematography and slick editing.”
  3. Dylan Hanson: “…a great story with great actors and in my opinion is one of the greatest films of all time. It stands with other mafia classics such as The Godfather and Goodfellas and was a perfect “farewell tour” for mafia movie legends Scorsese, De Niro, Pacino and Pesci.”
  4. filmsbyqfu: “…takes story of the little known Frank Sheeran and brings to life one of twentieth centuries greatest crime riddles, what happened to Hoffa? Offering a credible answer. If in the unlikely event that Scorsese was to retire after this film, it would be a fitting film to bow out on. Masterful.”
  5. James Palmer Film / Flipscreen: “It may have been labelled as another Scorsese gangster flick, but this is by far his most personal film yet. The last hour of this film is some of the best work in Scorsese’s already immaculate career.”
  6. Lee Butler / Movie Meister Reviews (4/5): “…a hard film to sit through in one go, but it’s worth the attempt. It’s Scorsese getting to have one more crack at the mafia movie now that he’s older and wiser and it’s certainly different enough that it earns considerable respect. I don’t think it’s his best work”
  7. Motionswee7 (Grade: A): “The production design, cinematography, music, crowd control is all top notch.  A CGI background here and there looks fake, but these are minor gripes.”
  8. New York Post / Andrea Peyser: Go ahead and admit it — ‘The Irishman’ is terrible
  9. Pete / Clear Blue Eye (2.5/5): “Overall, a detailed look at Frank Sheeran’s life (the eponymous Irishman) is not a bad idea. There is lots to tell, particularly as related to Hoffa. But, Scorsese didn’t know when to stop. Either have some self-discipline and bring the story down to 2-hours, or else make it a series. As it stood, I spent the time reading emails and searching the web. Definitely not what I expected from a cast and crew of this caliber.”
  10. Reel Movie Critic: “It is a slow burn for a three and a half hour movie. With all that said, we need to appreciate a movie where we will see Robert DeNiro, Al Pacino, Joe Pesci, and Martin Scorsese at the helm. This may be the last time we will see all these guys together making a mob film that is interesting, thrilling, and good.”
  11. The Film Authority: “…often looks like cut-scenes for a video-game, with mottled skin-tones and slick hairstyles that distract from what the characters say. There would be no place for an expensive dud The Irishman at the cinemas; even on streaming, it’s likely to vanish quickly as a bizarre footnote to Scorsese’s career.”
  12. The Reviewing Network: “…still a really enjoyable well made movie with brilliant acting, a good story to tell, great direction and cinematography as well as nice visuals, the editing and run time really does drag the movie down a lot unfortunately.”
  13. Wall Street Widow: “The Irishman is not necessarily high cuisine. For me it was more like a pretentious microwave dinner, like Healthy Choice’s Beef Merlot, containing reheated mafia tropes that miss the flavors and nutrients of earlier classics.” (ed. Of the many reviews I’ve read, this is one of my most favorites — comparing MCU to The Irishman — extremely well done!)
  14. Zach Vecker: “The runtime is a big factor that certainly handicaps the film’s re-watchability, as well as the more serious and thought provoking aspects. But I am completely comfortable admitting that I could be misreading audiences. It is unfair to compare it to films that have had decades to build up a legacy and following, so only time will tell if this will achieve the same impact.”

Have you seen The Irishman yet? What were your thoughts?

NOW PLAYING REVIEWS: Knives Out, Queen and Slim, The Irishman

With Thanksgiving and all wide screenings already opening, we’re getting this out much earlier than normal this week. Yay!

Here are what we recommend seeing that opened this 11-27-2019 holiday weekend #48 at the movies. All wide releases were seen, rated and reviewed with links on the movie titles below.

#1 is …

The Irishman ⭐️⭐️⭐️⭐️

Wait, you say, “but that’s not in the theaters?” No, it’s on Netflix, but it’s the best new movie available wide this week to see. This isn’t a vote for nostalgia, the last third of this film is a thing of beauty.

This is just a little bit better than #2, which can be seen in the theater. If The Irishman was showing in the theater it would be raking it in at the box office. This movie is worth getting Netflix, if only for a one month subscription. It will be about the same price as buying a ticket in the theater. If you already have Netflix, good news, just boot that badboy up and hit play!

Knives Out ⭐️⭐️⭐️⭐️

A callback to the old school whodunit featuring a cast of smarmy rich people wanting a piece of inheritance and most with some kind of murder motive. Daniel Craig (James Bond!) plays the mastermind detective who must figure it out and finger the culprit. And no, it’s not the butler who did it.

Our just left the theater reaction to Knives Out (no spoilers)

Queen & Slim ⭐️⭐️½ 

Erase the whole bogus comparison to Bonnie & Clyde and wait for this one to come to streaming, if you want to see it at all. There is potential here, but mostly squandered.

Want to see what else we recommend NOW PLAYING at the theater?

Here are other movies we’ve seen at the theater recently (maybe they are available in your area still) that are recommended. Any movie we rate at least 3-stars is recommended. You should read any 3-star review (click the title), because sometimes we do qualify those recommendations, meaning we were entertained, but it doesn’t mean that it was necessarily that good. 4-star movies are highly recommended and films we rate as 4 1/2 or 5 stars are must see.

  1. Doctor Sleep ⭐️⭐️⭐️⭐️
  2. Ford v Ferrari ⭐️⭐️⭐️⭐️ ScreenX
  3. The Irishman ⭐️⭐️⭐️⭐️ (Netflix)
  4. Harriet ⭐️⭐️⭐️⭐️
  5. Knives Out ⭐️⭐️⭐️⭐️
  6. The Good Liar ⭐️⭐️⭐️⭐️
  7. Joker ⭐️⭐️⭐️½
  8. Motherless Brooklyn ⭐️⭐️⭐️½
  9. Jojo Rabbit ⭐️⭐️⭐️½
  10. Last Christmas ⭐️⭐️⭐️½
  11. Frozen II ⭐️⭐️⭐️
  12. Parasite ⭐️⭐️⭐️

There is one movie, Dark Waters, that is limited opening and screening in our area that we haven’t seen yet. This film looks similar story-wise to Erin Brockovich only instead of Julia Roberts as the lawyer’s assistant, it’s a pudgier looking Mark Ruffalo as an attorney fighting the behemoth corporation. Stay tuned for this review this to come before the weekend is out.

7+ The Irishman Reviews – High Tech Wizardy, Run Time Excess and Character Regret

3 hours, 29 minutes.

That’s a million miles for viewers to travel with a full-length movie. That’s a TV mini-series length with a pilot and a couple episodes. I’m not saying full length movies can’t be made at this length, but it’s asking the viewers to be extremely patient and there better be enough star power involved, complexity and creativity in the story to justify the time.

Yes, there is star power.

Martin Scorsese the legendary director and starring Robert De Niro, Joe Pesci and Al Pacino. None of these people need an introduction and getting them all together in any film? Wow.

If you haven’t seen the movie yet, what follows is critical discussion on the movie and contains spoilers. My fairly spoiler-free review is here:

The Irishman ⭐️⭐️⭐️⭐️

My review of The Irishman – thoughts right after watching the first time

What follows beyond here contains spoilers. If you haven’t seen the movie, yet, I’m recommending you do before returning and reading what follows.

… you have been warned … SPOILERS past here …

This movie budget of $160 million was financed by Netflix. This whiz bang de-aging technology is, as we saw in Terminator: Dark Fate with John Connor, Arnold Schwarzenegger and Linda Hamilton (for a minute or two) believable. We are seeing senior aged actors young on the screen again. I’m not sure that’s worth the cost of making more movies, but hey, it mostly suspended my belief.

Scorsese likens de-aging to a “different kind of makeup”

In a short discussion after the movie, director Martin Scorsese explains why the de-aging technology is a worthwhile experiment. He compares it to a different type of makeup. He points to Elephant Man as an example. The problem I have with that comparison is CGI is digital, not analog. It’s not the same art as a human being preparing and putting on the makeup. The flaws in the work are what make us human beings.

Computers do not make mistakes, except for in the programming. The lack of flaws, imperfections, strips away some element of art. That is what I challenge from a creative perspective.

Analysis

Was eagerly awaiting seeing The Irishman at midnight 11/27/2019 when it became available on Netflix. Wasn’t sure I could stay awake or not, because I’m usually sleeping around this time during the week. As it turns out, the length and the lateness of the hour forced me to restart from the beginning and watch it again this morning.

This has a very Casino ⭐️⭐️⭐️⭐️½ -like setup complete with the opening scene of the central protagonist with ongoing flashback narrator (mostly De Niro as Sheeran) commentary. It follows the life of an alleged mafia hitman and the Teamsters heavy, Frank Sheeran. It’s based on the book I Heard You Paint Houses: Frank “The Irishman” Sheeran and Closing The Case on Jimmy Hoffa. The book is disputed by some and I haven’t read the book to be able to compare and contrast as far as the adaptation on the screen.

I wasn’t a fan of the first two acts of this movie.

How could those first two acts have been improved? More family interaction, less murder and throwing guns into the water.

There are no romantic subplot with outstanding female actresses like Sharon Stone in Casino to provide a dramatic relief valve from men doing bad things to other men, it’s just bad guys being bad guys everywhere all the time. The only times — except the final act — we see women are when they are put in harm’s way or taking care of children and/or housekeeping.

Yes, this might have been realistic for the time and story, but weren’t there any strong women in Sheeran’s life besides the brief scenes with his family? I’m not getting all woke in this review, but, well, if you’re going to put me through 3 1/2 hours, I need some sort of light to go with the dark. The only love displayed with any emphasis in this film are for money and mob ties.

Until the third act. I’ll get to that shortly.

Also, some recycled scenes from other movies. There is a familiar car bomb scene complete with drama turning the key (will the car blow up?). This scene was necessary … why? How about another scene with Sheeran’s estranged daughter? This would increase the dramatic punch of the third act.

The first two acts are where most of my criticism revolving around the film run time lies.

I absolutely loved the third act. In fact, if Scorsese had chopped the 2.5 hours down to 1.25 and then added the ending, we’d have a film about 2 1/2 hours and it would have been a masterpiece.

The third act is a different film. I was completely engrossed with the last hour or so. This is where most of the run time is earned back, because we not only learn what happens to Hoffa (one of the few movies to payoff on that great mystery) but that is the main course.

The dessert is where the film becomes great. Talented creative people know when they need to keep going. To put that final polish on with a mesmerizing epilogue. This, the last 30-45 minutes, that we understand what the film is really about. All the violence and mob hits consequences boiling over.

The story goes into heavy reflection mode and finally the light I was missing the rest of the film becomes illuminated, making more sense of the violence. Regret in those final hours when we’re staring down death’s door what matters isn’t how many people you’ve killed or how much damage you’ve done, it’s who you’ve loved and who has loved you.

In the case of Frank Sheeran, he died the way he lived: an outcast from the family he loved. They were afraid to come to him because of the vengeful actions he might take. He seems to realize in that final moment of film that he has lived in fear himself, looking over his shoulder all the time, needing the door kept open a crack, because being enclosed forces him to face his life’s reflection.

Deep stuff. I love it.

But I can’t forgive the run time. I know others will probably disagree with me, but this story could have been done without so much padding in the first two acts. It’s a shame that some people equate length of stories, volumes of words or in the case of movies, amount of run time as a definition of quality. In my opinion this is more laziness than genius. Go look up Professor Strunk. “Omit needless word!” was his founding principle.

I’m not saying there can’t be long novels and long movies, but use the time well. The first two acts of this film could have been used much better. The third act is a masterful demonstration of how to end a movie.

Reviews by Others

Where do others weigh in on The Irishman? I’ve found very few reviews that are not recommended, so am lumping them all together rather than separating.

Did I miss your review? I realize this is being posted close to when the movie was made available on Netflix streaming, so I’m going to continue to update this section with additional reviews as I come across them for a few days.

In the meantime, feel free to use the comments to tell me about your movie-related/review blog and I’ll follow. I like following movie-related blogs. Yes, even those who disagree with my reviews and vice versa.

Reviews

  1. LouBickle25 (5/5): “Scorsese’s best film in years –– an accomplished, necessary picture in his filmography that harkens back to his finest works; one whose greatness is sound, unsparing, and gradually felt.”
  2. One Movie Our Views: “…immersive dramatic storytelling from a true master of his craft, a film that not only fits in perfectly with Scorsese’s previous oeuvre but also deepens the themes of his earlier works to provide a perfect capper on his legendary career.”
  3. Movie Nation (2.5/4): “So why did I keep thinking about Steven Spielberg through this funereal mob film finale? Because Spielberg opposed allowing Netflix epics like this bloated, under-edited indulgence into the Academy Awards. A blank check from the streaming service to our greatest living director to tell the mob tale to end all mob tales only meant he’d never hear a Studio Voice of Reason suggesting he thin out the repetition, give it clarity and PACE while losing some of the staggering number of “travel” scenes.”
  4. DC’s Take: “Sure, it might be over three hours long, but it’s able to keep you engaged from start to finish. The direction was flawless, outstanding powerhouse performances from all three leads, and a fantastic script to cap it all off in being one of the best movies of the year. “
  5. Chicken of Tomorrow: “…capable of standing proudly in the pantheon of Scorsese’s other works, it can very well be counted among the director’s best. The film may finally snag Netflix the best picture Oscar it has long coveted, and the cinematic landscape to which Scorsese is so passionately committed may never be the same again.”
  6. Bringin The Juice (95/100): ” While their still is doubt that this is the true telling of what happened to Jimmy Hoffa, this is the most widely accepted version. But even without that, this is a masterclass in film making, acting and storytelling as a whole.”
  7. El Burrito Blog: “It’s some of the most perfect, original and beautiful storytelling the man has ever done. It’s a film that’s deep, pure, entertaining and honest.”
  8. Dariush: “…tremendous, sincere piece of work, well worth trying to catch on the biggest screen you can find. Final thought on the performances: Pesci and De Niro are wondrous, Pacino does the best Pacino he’s done for years, but it’s the near-wordless Anna Paquin who is arguably the movie’s most haunting presence. And, in many ways, its wounded heart.”
  9. pizzaluca (4/5): “The performances are uniformly excellent, and the third act’s mature and fascinating take on the bleakness of a gangster’s life is a fitting coda to a filmography that once famously said “for as long as I can remember I’ve always wanted to be a gangster.” “
  10. VOICE OF THE HWY: Everything you need to know about ‘The Irishman,’ Scorsese’s 3 1/2-hour Netflix epic
  11. Dylan Moses Griffin: “I must implore those to see it in the theater if they can, I’m so grateful I got to because it would have been a crime of cinema to not see a new Scorsese on the big screen. Netflix needs to know that theatrical exhibition is a viable option for them, so please see it in theaters if you can.”
  12. mondomovies: “…its overlength is sustained mainly by performance with a powerhouse set of principals (plus Harvey Keitel, Ray Romano, Bobby Cannavale et al) battling against a lot of unmemorable and somewhat repetitive dialogue (but when it’s good, it’s great), under-dramatised setpieces and a fatally bloated midsection (as in life, so in narrative), much of which is spent in courtrooms.”

Open for discussion. Let’s discuss The Irishman. Do you agree/disagree with my criticism? What did you like and dislike, if anything, about the film?

Martin Scorsese Just Won’t Shut Up Crying About The Trees While Ignoring The Forest

Last weekend’s box office returns support the “franchise movies dominate the theater” claim

As I get older, my eyesight is failing. Hopefully, I won’t ever become as blind to the times as Martin Scorsese. Stay with me, this will be a bumpy and scurrilous ride.

Study the screenshot of last weekend’s box office returns. It supports this screed.

Oh, Mr. Scorsese. You just keep talking. And promoting, mind you, that your movie The Irishman is going to be on Netflix (gasp!) later this month. It should be in the big theaters now, and you know what? That’s their loss. I agree with you that it’s stupid, but am glad you’re movie got made, period, so I’ll get a chance to see it. As an ardent movie lover, I don’t care that it’s on Netflix over at the movie theater, but yes, I agree with you. My guess is many other moviegoers agree, too.

I don’t get the blame game, however. People don’t like whining. When we whined as kids, what were we told?

“Stop whining!”

Scorsese is still making a futile attempt to undo stepping on his tongue dissing Marvel movies, by yesterday writing a guest opinion column for The New York Times. In this op-ed, he continues to lament the current state of cinema. To paraphrase Scorsese, the enemy of the moviegoer are franchise films:

“What’s not there is revelation, mystery or genuine emotional danger,” Scorsese added. “Nothing is at risk. The pictures are made to satisfy a specific set of demands, and they are designed as variations on a finite number of themes.”

Martin Scorsese says theaters shouldn’t just be for Marvel movies — Quartz

Sigh. I guess I’m not as cynical about the masses of moviegoers being able to separate good movies from bad, and voting with their wallets.

Case in point: Terminator: Dark Fate ⭐️⭐️½  #1 in box office sales last weekend by the chart. But it is dropping faster than a turd in a flushed toilet. It will have no box office staying power like Joker⭐️⭐️⭐️½ , because it’s — surprise, shock! — not as good.

Dark Fate is a franchise movie that meets all of Scorsese’s ire. I gave it a 10 day countdown on this blog, was genuinely, heartfelt looking forward to seeing it and was utterly disappointed. If you look at the box office returns many people are passing. To counter Scorsese’s point they are not buying tickets to the all mighty franchise movie. Dark Fate is on track to lose over $100 million dollars.

That $100 million loss will speak more than a thousand Martin Scorsese op-eds. When people start getting burned on millions of dollars, that changes the business model. We won’t see another Terminator sequel in the theaters any time soon. Good on that, I say.

Maybe we will get the Terminator movie we want on streaming someday in the future (that’s my hope). A much lower and frankly saner budget, a grittier series of movies that doesn’t terminate what we loved about the first two movies and pander to what Hollywood thinks the masses want (some would say woke, but I don’t buy that for this particular franchise — another rant, another day for that).

Back to Martin Scorsese.

Scorsese is clearly bitter and disappointed that the major studios wouldn’t finance The Irishman. This isn’t Marvel’s fault, or franchise movies fault, it’s a business decision. Big movie studios don’t think they can recoup the money from that movie in ticket sales as easily as with something like Dark Fate. I think they’re wrong and agree with Scorsese but it’s not us risking our money.

He’s lashing out as did Ken Loach and others, saying the big movie houses would rather spend their war chests on franchise films — including Marvel/Disney,etc — than take chances on movies like The Irishman.

Of course they would. Because those franchise films — again, see last weekend’s box office returns — are what are driving the majority of sold tickets. They need to finance movies that sell tickets.

This is what I mean in the headline by focusing on the trees and ignoring the forest. The Irishman is a tree, it’s one movie. Look, Mr. Scorsese, you got your movie made. You won the movie making lottery! Do you have any idea how many great story ideas are out there that don’t get made? That is what we should be focusing on. Finding those gems and working to make them. Say hey, I can make XYZ into a great movie for a measly couple million dollars.

Any remotely active reader could list a ton of great novels that should be adapted into movies tomorrow. With the $100 million+ that will be lost on a subpar Terminator sequel a dozen of these movies or more could have been made and shared. How about 20+ movies? $5 million will still make a pretty darn good movie. Maybe they won’t have the shiny de-aging effects or more realistic CGI, but why not go old school and focus on acting and story instead? Heck, once upon a time great movies were made for less than $1 million. Now the catering bills on some sets exceed the budget of past films.

It’s going to be seen by many more millions on Netflix than it would have been seen at the theater. What are you bitching about? You’re getting your movie in front of the forest!

The more people that see the Irishman will mean more movies like yours will sell tickets at the movie theaters. Moviegoers en masse will buy tickets to good movies. They won’t waste their time with another Terminator sequel when they can choose to stay home and watch Dolemite: Is My Name⭐️⭐️⭐️⭐️ on Netflix or The Irishman (I haven’t seen this one yet, but hope it will be good), or … maybe they will go to the theater and watch something other than a franchise film.

I mean after you’ve seen the good franchise films that drove you to the theater

(get people to theater to see something over nothing)

…. you are jazzed up and wanting to see something else at the theater. Now, you’ll see those artsy, cinematic movies Scorses seems to feel we’re being starved from being able to watch.

Bollocks. The good movies are in the theater. Sure, they might not have as many screenings and/or require a little more ingenuity and discipline by the moviegoer to take a chance on versus the franchise film — but they are there.

My favorite movie last weekend was Harriet⭐️⭐️⭐️⭐️ . The story of the great Harriet Tubman. Her story is courageous, is very much not a franchise film, and we haven’t talked nearly enough about it here. My next favorite current in the theater film would be The Lighthouse ⭐️⭐️⭐️½ from A24, again, not a franchise film but a creative, gritty, terrifying jaunt into madness.

Good trees to focus on.

Yes, I’m just one lowly moviegoer and reviewer out here, Martin Scorsese, but I watch as many movies as I can and there are plenty of quality cinema beyond franchise movies. My point is let Hollywood faun over big tentpole movies and advertise the wonder of these huge blockbuster movies because it drives people to the theater experience which is warm, wonderful and has movies that don’t suck.

Put down the sword of blame against franchise movies or superhero movies or whatever type of movie that is more popular to the masses than the movie you want to make. The industry needs big budget movies because they serve as a vehicle to drive people to the movie theater experience. Some of these movies will succeed, some will break even and some will lose. We, as movie lovers, shouldn’t care as long as people keep going to the movies.

Call me an optimist, but I have faith in the forest — in people making the right decision with their hard-earned money – and that driving change with planting more and better trees..

Theater Group Crying Foul Over Netflix’s Limited Theatrical Run for Scorsese’s The Irishman

Netflix plays by its own rules. Google, Facebook, Amazon — all have done the same things in their businesses.

Most of us will not be able to see Martin Scorsese’s The Irishman that opened in very limited theaters this weekend. We’ll have to wait and see it streaming on Netflix on November 27.

The Martin Scorsese-directed drama is screening in only eight theaters this weekend in Los Angeles and New York before it will have a 26-day run in limited theaters. It starts streaming on Netflix on Nov. 27. Typically, major exhibitors insist on 72-day periods of exclusivity before films go on streaming platforms and home video. According to the Times, representatives of two major theater chains agreed, independently, to lower that number to around 60 days. Netflix said it would not go over a 45-day exclusivity window. On Nov. 8, the movie will play in small movie theaters in the country’s top 10 markets, and it will then roll out to more theaters in the following weeks.

Netflix’s Limited ‘The Irishman’ Release Is a ‘Disgrace,’ Head of Movie Theater Group Says

Scorsese defended his decision to work with Netflix, saying that essentially they were the only game in town willing to front the $160 million to make this film. The big five studios wouldn’t spend the money required by the expensive de-aging CGI.

The major studios won’t screen Netflix original movies if they don’t adhere to the theatrical window. Netflix wanted a shorter window, which I have suggested makes sense too.

This also happened with Eddie Murphy’s Dolemite Is My Name ⭐️⭐️⭐️⭐️ Very small theater screenings, then open less than a month later on Netflix. Our website is treating these large budget Netflix Original movies just like in the theater movies (as far as reviewing goes, anyway), for what it’s worth.

I think the line between “new in theaters” is becoming increasingly blurred as the big theater chains are forced to play ball with the various streaming services on a reduced theatrical window.

Also, I don’t care much for cinematic elitism, declaring straight to TV movies to be inferior by default simply because they weren’t released in the theaters first. A movie should be judged on whether or not you liked it, were entertained by it, that it was, in fact, a good movie.

Where and when a movie was released only matters in how easy or hard it is to watch it. That is something fair to criticize, but one could argue Netflix is much more accessible than seeing a movie in the theater. I live near a major city (Seattle, WA) and yet am finding some new theatrical release movies difficult to find during their theatrical run.

Yes, I realize there are a lot of truly terrible straight to video/TV movies, but the same can be said for theatrical release movies.

Netflix should be lauded for spending the $159 million to make The Irishman, not shunned because they didn’t do what the theater chain heavyweights tried to ram down their throat. We, as moviegoers, suffer by being denied access to seeing movies like this on the big screen. That’s the true travesty here.