The Tomatometer rating – based on the published opinions of hundreds of film and television critics – is a trusted measurement of movie and TV programming quality for millions of moviegoers. It represents the percentage of professional critic reviews that are positive for a given film or television show.
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The Tomatometer is 60% or higher.
The Tomatometer is 59% or lower.
Movies and TV shows are Certified Fresh with a steady Tomatometer of 75% or higher after a set amount of reviews (80 for wide-release movies, 40 for limited-release movies, 20 for TV shows), including 5 reviews from Top Critics.
Percentage of users who rate a movie or TV show positively.
It's the ultimate fusing of Scorsese's two sides... And even though it takes a while to get there, the movie is a masterpiece, one made by a man counting down his own years as if they were rosary beads.
It's not going to blast you through the back of the theater... Instead, it's going to engender feelings of sadness and regret amid a renewed appreciation for the director's filmmaking and storytelling prowess.
"The Irishman" isn't a soaring achievement: It's a deliberate, thoughtful and somewhat muted one. No matter where that traveling camera goes, it subverts our expectations at every turn. Which can sometimes feel like a drag, but also exactly right.
Denying Scorsese's raw talent and experience as a filmmaker would be insanity. But that the only major film made in America this year about unions dredges up [Jimmy] Hoffa again seems tone deaf and self-indulgent.
The Irishman is pure cinema, all three and a half hours of it - and one of Scorsese's jazziest, most difficult films, borrowing from many sources while riffing freely though often mournfully on the themes and techniques of his previous crime epics.
Feels genuinely new and deeply satisfying -- for its subtlety, wit and resonance; for its serenely confident technique, meaning no truck with fancy tricks; for the sumptuous quality of the production; and for the epic scope of the story.
If this all seems rather somber, it's because of the stunning last hour, which will stick with you long after the film is over. But before then, "The Irishman" is actually quite droll, with some of the best characters and dialogue you'll see in a film.
I do like it more than anything he's directed in a long time... But here's an aspect of the movie, common to all of Scorsese's organized crime films, that I find troubling. To wit: Just how sentimental should we be about coldblooded killers?
Prepare for fireworks. With this unmissable crime epic, you'll be watching Scorsese at the peak of his powers directing acting giants De Niro, Pacino and Pesci and creating the movie event of the year.
Since 1973's "Mean Streets," Scorsese has proven over and over to be a master of the gangster film, and "The Irishman" has everything a crime lover would want, from violence and tension to an intriguing mundaneness.
Some will herald this as a fitting crown for the end of a master director's career. But, smart cinephiles will recognize that this gifted and highly skilled auteur has only climbed to another summit, and there will be more.
Of course, Scorsese delivers a stunning, gangster flick but The Irishman is so much more, a melancholy eulogy for growing old and losing your humanity. Savour every one of its 209 minutes, you won't regret it.
It would be unchivalrous to put a date on when De Niro was last this good. But he's sensational - giving a grippingly subtle, internalised performance that melts through the de-ageing process as if it were no more than make-up.
Fully engrossing for all of its 209 minutes... The Irishman is also -- true to form for Scorsese's best mob sagas -- remarkably funny with nearly everyone landing punchlines through the poetry of tough-guy language.
"The Irishman" isn't the last word on gangsters, but this long, involving, and extremely well-made epic seems to be an appropriate capstone for Scorsese - as well as De Niro, Pesci, and Pacino - at this late stage in their careers.
As with many of his earlier works, it's a film fascinated by the mechanics of organized crime. But there's a pervading sense that, with this picture, Scorsese wants nothing less than to put the gangster movie into its grave - quite literally.
Scorsese's return to the gangster milieu is anything but a greatest-hits compilation from a filmmaker in his autumn years; as a storyteller and a crafter of images, he remains as bold and as provocative as ever.
The Irishman is so layered with detail, and shifts so gracefully through so many eras, that it's hard to tease out a clearly defined plot. Even so, the movie is beautifully constructed-you willingly follow wherever it goes.
There's no conclusion to his filmography's cycle of transgression and penance, because none of us can know the higher truth for which his films grasp. He leaves just enough doubt to require the next movie.
A highly ambitious crime epic from a dream team delivering standout work all around. De Niro, Pacino & Pesci are phenomenal as is the work of editor Thelma Schoonmaker who makes a story that spans decades and clocks in at a whopping 209 minutes seamless.