Scorsese’s epic comes to Criterion this November.

MARTIN SCORSESE’s cinematic mastery is on full display in this sweeping crime saga, which serves as an elegiac summation of his six-decade career. Left behind by the world, former hit man and union truck driver Frank Sheeran (Taxi Driver’s ROBERT DE NIRO) looks back from a nursing home on his life’s journey through the ranks of organized crime: from his involvement with Philadelphia mob boss Russell Bufalino (Goodfellas’ JOE PESCI) to his association with Teamsters union head Jimmy Hoffa (The Godfather’s AL PACINO) to the rift that forced him to choose between the two. An intimate story of loyalty and betrayal writ large across the epic canvas of mid-twentieth-century American history, 

The Irishman (based on the real-life Sheeran’s confessions, as told to writer Charles Brandt for the book I Heard You Paint Houses) is a uniquely reflective late-career triumph that balances its director’s virtuoso set pieces with a profoundly personal rumination on aging, mortality, and the decisions and regrets that shape a life.

Along with the 209 minute film, Criterion have brought along some great special features to accompany the film. Here is that list. 

New 4K digital master, approved by director Martin Scorsese, with Dolby Atmos soundtrack

Newly edited roundtable conversation among Scorsese and actors Robert De Niro, Al Pacino, and Joe Pesci, originally recorded in 2019

New documentary about the making of the film featuring Scorsese; the lead actors; producers Emma Tillinger Koskoff, Jane Rosenthal, and Irwin Winkler; director of photography Rodrigo Prieto; and others from the cast and crew

New video essay written and narrated by film critic Farran Smith Nehme about The Irishman’s synthesis of Scorsese’s singular formal style

The Evolution of Digital De-aging, a 2019 programme on the visual effects created for the film

Archival interview excerpts with Frank “the Irishman” Sheeran and International Brotherhood of Teamsters trade union leader Jimmy Hoffa

Trailer and teaser

PLUS: An essay by critic Geoffrey O’Brien

November 30th 2020

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