After all of his films, Martin Scorsese has not made an assumption of what will happen when we die. There’s no dream sequences. The Last Temptation of Christ never answers the question about if there is a heaven or a hell. Scorsese is a Catholic, a man of faith, but has always been conflicted about it, especially in a world this cold. In his newest film, The Irishman, from the novel by Charles Brandt, I Heard You Paint Houses, this might be the closest the Oscar winner has ever come to giving us an answer to that question. Yes, this is a reunion of cinema legends, with Scorsese working with buddies Robert De Niro, Joe Pesci, Harvey Keitel, and Al Pacino, just for one more chance before his time is up, but it is best not to be distracted by all of that. The Irishman is about the vision of an auteur. Something must be in the stars for a movie with this plot, and a script (written by Steve Zaillian) that plays like a commentary for the career of Scorsese, it is just too perfect. Sure, he could play the hits, with mobsters getting killed, and The Irishman has plenty of that, but this is different than all the times before. Scorsese is taking his time, this is one last ride, and I couldn’t help but sit back and be in awe of it all.