However, “The Irishman” features an ideal match of filmmaker and source material: Scorsese and screenwriter Steven Zaillian have crafted a faithful adaptation Sheeran’s 2004 quasi-memoir “I Heard You Paint Houses: Frank ‘The Irishman’ Sheeran and Closing the Case on Jimmy Hoffa,” which takes him at his dubious word, and it provides a definitive template for Scorsese’s best kind of character study. There have been flashes of the “Goodfellas” blend in the last three decades, with the pitch-black comedy of hapless anti-heroes driving “Casino,” The Departed,” and “The Wolf of Wall Street,” not to mention lesser entries like “Gangs of New York,” and almost all of them derive their authenticity from a historical foundation. Forget that it’s a touch too long and the much-ballyhooed de-aging technology doesn’t always cast a perfect spell the movie zips along at such a satisfying clip that its flaws rarely amount to more than mild speed bumps along the way. “The Irishman” is Martin Scorsese’s best crime movie since “Goodfellas,” and a pure, unbridled illustration of what has made his filmmaking voice so distinctive for nearly 50 years. ‘Society of the Snow’ Recreates Real-Life 1972 Plane Crash

Is casino a sequel to goodfellas