The Guardian’s film critic Peter Bradshaw writes about Martin Scorsese’s latest movie, ‘The Irishman’, in his column about ’50 best films of 2019 in the US’.
Not since Oliver Stone’s JFK has a movie returned to the conspiracist issue of political assassination.
There is such intense fascination in Scorsese’s mastery of the big picture, the tiny detail, the flair and showmanship in the popular music on the soundtrack, and the unmistakable use of narrative voiceover, which gives his picture the intimacy of an anecdote and potency of myth.
The Irishman is the work by a master of cinema.
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