 Anyway, the Ayushman. Ayushman is a movie on Netflix, produced by Netflix, had a run at the theaters as well. I think in the more artsy theaters, has won some awards. Pymeleon Europe, I think, is probably up for an Academy Award, or will be up for an Academy Award. It's a four hour long movie. It's got a cast of, you know, some of the real heavyweights in terms of actors of the last, you know, 30, 40 years. Robert De Niro is the main guy, Al Pacino, John Pesky, Javi Cattel, Ray Romano. You know, anybody on screen is recognizable. I mean, they're all, they're all some of the great actors, you know, of the last 30, 40 years. And they all have played gangsters, right? They've all, they all have played gangsters. They've all been in gangster movies. This is a movie made by Martin Scorsese, Martin Scorsese, who made with, made quite a few movies with both Al Pacino in his youth, you know, and Robert De Niro. You know, the movie really, I think, that made Scorsese was, was Taxi Driver in the 1970s. And then there was, was there, there was the gangster movie, the Cuban gangster. And it made quite a few gangster movies. Robert De Niro, of course, from, from The Godfather on, Jo Pesky has started in a number of different gangster movies. And this is the Irishman is a gangster movie. It's a movie about the mafia. It's a movie about the mafia, and in particular specifically about the assassination of Jesus, of the, the Union boss, Hoffa. So it's, you know, for those of us who grew up in the, or remember the 70s and 80s, and the whole mystery about the disappearance of Hoffa, this is an attempt at kind of telling the story behind that. I don't know if it's based on fact. I don't know if it's complete, making it completely up with its fact or reality, but it is an attempt to tell the missing story of, of Hoffa and what happened to Hoffa and, and where he disappeared. I mean, these are great actors, acting generally is good. The problem with the acting is that because they want to use Robert De Niro throughout the entire movie, Robert De Niro, old Robert De Niro acts as young Robert De Niro. And it's like they try to make him up like he's younger, but it doesn't work. You know, it just looks like Robert De Niro, middle-aged to old Robert De Niro. So the timeline doesn't make any sense in terms of the appearance of the actors. They look old throughout. It looks like it's flat from a timeline perspective, even though they're trying to do lots of different flashbacks to lots of different periods. I think while the acting is good, it doesn't really work because it's unconvincing. But more importantly, the movie is super boring. I mean, it just is a complete and utter, complete and utter, sorry, Joe Pesci. Sorry. It's a, I guess I must pronounce it to him, a complete and utter waste of time in my view. It's not worthy acting. Acting is good, but it's not that great. It is meandering. It is slow. It is completely naturalistic. Any element of romanticism, any element of choice, any element of heroism, any element of interesting choices that people might make, all gone, all gone. It is just plain boring, dull, and reflective of a certain attitude that is really, really, really, I think, bad about American culture. Now, you know, the Godfather were good movies. The Godfather were good movies. They had a plot. This movie has no plot. It's just, it's just this scene after scene after scene that kind of is leaning off his death, but doesn't add up logically too much. It's completely naturalistic. It's completely devout of interesting action, of choice, of hero, as I said, heroism. You know, the Godfather was a good morality tale. And if you, all three of them, and actually, and one of the few people who actually liked Godfather 3, it's dramatic. It's intense. It's surprising. It's, you know, the scene where, you know, towards the end of the movie where everybody gets, all these things happen all at once and everything, all the kind of stuff that's being planned comes together. It's just a work of genius. I mean, they're really, really great parts of the Godfather. And the Godfather has a clear morality play. It doesn't, it gives all the character choices from the, you know, the character of the son. I guess that's Al Pacino. Al Pacino, who has to choose between joining the family business, the mafia, or being a good guy, and following his, you know, listening to his wife and kind of staying out of the family business, which is what his intent is. To the Godfather himself, the kind of choices he has to make, given the circumstances he has, and it tells the backstory of how we got to where we are. All of it about choices that are made, consequence of choices, and ultimately, the complete disaster that a mafia life leads to, the complete suffering and, you know, falling apart of a mafia ridden family. I mean, I think it really is a good, good movie. It's the Godfather. Silly, enjoyable movies. I recommend all three of them. I recommend watching them close together so you can see kind of the sequence. The characters are interesting. Here it is boring. Nothing changes. And De Niro plays it boring. So he has almost the same look in his face, no matter what he's doing. If he's shooting somebody, or if he's, or if he's, and he pretends. The whole thing is like, shooting is no big deal. And the Godfather, shooting somebody is a big deal. There's a lot of discussion and debate about whether to do it. Not morally a big deal, but a big deal in terms of the existential consequences of this. Yeah, you just shoot people. And it's like, should we do it? Or shouldn't we, you know, he's cross the line, shoot him, what the hell. It's, it really is a terrible movie. I mean, Joe Pesci, Pesci, Pesci? Is that what? Pesci. Joe Pesci. His character is the ultimate mafia boss. But you have no sense of what that means. You have no sense. It's all kind of hush-hush. You kind of only see a little bit of the consequences, him and him picking up some money. But nothing, nothing of substance is ever discussed in any meeting. Nothing of substance is ever decided. Anyway, it's like, he's cross the line, kill him. You know, it's not, there's no, it's in the Godfather. There's strategy. People come up with strategies. And again, the accommodating scene, and in each movie, they do it differently. And I think brilliantly in all three of them. You know, in the Godfather 2, I think it is, or is it in one, where they're baptizing the baby. And while they're baptizing the baby, that is, new life is coming born. They're killing everybody around them. And they're taking control of the mafia empire. And there's just this strategy, there's thinking this, what are we doing? What do we have to do? And it's interesting. And even though there's this obsession with gangsters, it's an obsession that then it's clear that this is a horrible life and they pay a huge cost, a huge cost. In Irishman, the consequences are like, his daughter doesn't speak to him. And he kind of dies alone. Nobody's there. And they all seem to find religion towards the end of their life. Okay, I know lots of people whose children don't talk to them anyway. There's like this guy murdered people, lots of people. All these mafia guys, not a lot of them are mafia guys, because it's based on the true story. It tells you they were killed, they were this, okay. But there's no existential angst and suffering that happens in the Godfather. So it's almost like, here's, and it's told in this naturalistic way, here's a way to live. Here's one way to live. One way to live is this, you know, killing people, extorting people. And by the way, they extort people all the time, people hand them like envelopes of cash. And it's like, oh, thank you. Here's the cash. Thank you for giving me protection. It's like, there's no, these are bad guys. These are evil people, evil people. There's none of that. They're not even glamorized. They're just normalized. Normalized. They're just, all of them are just like normal human being. You know, I wanted to advance my job and I want to make a little bit more money. So I figured out how to steal stuff. No big deal. And then the company accused me of stealing and I had this lawyer who's a mafia lawyer and he figured out how to save my butt and I didn't go to jail and I, you know, and nothing happened to me. Okay. No consequences. Nobody cares. No bad stuff. No drama. No drama. By the way, the movie has zero drama. Zero drama. Yeah, he's stealing steaks. He's stealing beef. No drama. No, nothing. The consequence of him stealing beef is he gets promoted into the mafia and he gets, it becomes a hit man because hit men make more money than you can make stealing beef. And he makes money, but it's not like, it's not even like he's living big. No, he never lives big. You never get a sense that he has a lot of money. He's been killing all these people. So it's just like, he's just a normal guy who happened to have fallen into stealing steaks, moved him into assassinating people and he's the one who kills Jimmy Hoffa. Big deal. This is just the way the world works. Here I'm gonna tell you this story. Uninteresting, boring. I hope I just saved you four hours. It's a truly, truly awful movie. So not just, it's boring. It's dull. And it says something about a culture that likes this other than cheering, oh, we got to see Robert De Niro and Al Pacino in a movie together for the first time in a long time. Isn't this cool? I mean, that's okay. That I can see is cool. They been, they were in the Godfather. Then I think they were in a movie called Heat, which was actually a well made movie, morally, really, really corrupt, but a well made movie by the same director, by the way, who made The Last of Mohicans. But that was an interesting movie again. I don't know what it is that we, we like to watch gangsters. I guess there's a, is it Michael Mann? Yeah, it's Michael Mann. I guess we like to watch gangsters. We like, we like the idea that the people out there who living it. But in this case, the living it is like, if that's living it, who wants that? It's just none of its impress if you want to, they're not even glamorizing gangsters. They're just the guy next door. Pure naturalism and I think bad, bad and not even good naturalism, you know, really boring naturalism. Most naturalism is boring. So yes, I hated the Irishman. Please don't watch it. Don't waste your time. Now I know some people love it, but please don't waste your time. It's not worth the performances. Yeah, Al Pacino is pretty good at Jimmy Hoffa. Joe Pesci is good in his role. Robert De Niro is Robert De Niro. They're all good. But it just, it's just, in some parts of it don't even make sense. But I'm not even getting into that because it doesn't matter that it doesn't make any sense because the movie's not trying to make any sense. All right, that's my quick review of the Irishman. I give it a clear thumbs down. You know, I don't know, a four on a scale of 10, four only because it's fun to watch these actors as they age and you know, I guess I was curious what really happened to Jimmy Hoffa. So I watched it through. So I watched it through so you wouldn't have to. I hope you appreciate the sacrifice. I was literally, because I watched it in bits. I usually never do that. I would like to watch a movie all at once. I like the complete emotion in a movie. But this movie, I started watching and it was so boring, I had to stop. And I said, oh, but I should probably watch a little bit more. Maybe it gets better. So I watched a little bit more. And it's still boring as I stopped. And then it's, oh, I should do a review for this for the show. And if I'm going to do a review for the show, I better finish it. So just so you know, the kind of the kind of I'm kidding about sacrifice, the kind of hard work that anyway, that's why I watched it. I watched it for you.