Cillian Murphy’s ‘Peaky Blinders: The Immortal Man’ offers fans ‘one last job’ in fitting end to mob saga sensation

The “Peaky Blinders” movie bravely asks, must a movie be good – is it not enough to feature Cillian Murphy moping around in 1940’s attire, shooting guns while rock music blasts? 

For the most part, the answer is “yes.” That is indeed enough to make “Peaky Blinders: The Immortal Man” a rollicking watch.

Premiering in select theaters March 6 and on Netflix March 20, “Peaky Blinders: The Immortal Man” is a two-hour extended epilogue for Tommy Shelby (Murphy), after the events of the hit six season show. 

The script (penned by series creator Steven Knight, who is also writing the next James Bond movie) is thin in places. At times, it’s hard not to feel like the story is a hollowed out echo of the better show that “Peaky Blinders” once was. 

Despite its flaws, though, “The Immortal Man” is a fitting end to the saga that became a global phenomenon. It’s not the best film, but it’s a solid conclusion to Tommy’s story, with a lot to enjoy.

The show launched the Oscar-winning actor into stardom, popularized his trendy haircut, attracted celeb fans like David Bowie and Brad Pitt, and lasted for over a decade. 

“Peaky Blinders” originally premiered in 2013, and followed Tommy’s rise from 1920’s crime boss in Birmingham, England, to the halls of Parliament in the 1940s. 

The movie finds him in self-imposed exile after suffering lots of trauma over the course of the series, including the death of his daughter. 

Too bad for Tommy, he can’t just be sad alone. Otherwise, that would be a boring movie. His estranged illegitimate son, Duke (previously played by Conrad Khan, recast as Barry Keoghan), is now leading the Peaky Blinders gang in Tommy’s absence and causing mayhem.

It’s up to Tommy to stop Duke. So, yes –  it’s the classic plot of, “the gangster who wants to leave his life of crime gets reeled in for one last job.” It’s a basic set-up, but you see it in so many movies and shows because it’s impactful. 

The “father against son” plot makes it feel like Shakespearean, by way of “Snatch,” with some Michael Bay antics thrown in.  

Duke’s main personality is being angry at the world because he feels abandoned. Keoghan does what he can to flesh him out, but the writing doesn’t give him much to work with for the thinly drawn character. Still, the “Saltburn” actor is a natural addition to the “Peaky Blinders” world. He even looks like a mug shot of an old-timey gangster. Since he and Murphy are two of today’s strongest Irish acting talents, it’s electric when they share scenes (even when they’re doing English accents).

Netflix has announced that there will be a sequel series about a new generation of Shelbys. Although Keoghan hasn’t been announced as the star, “The Immortal Man” acts as an end to Tommy’s story, and a clear set-up for Duke to take the lead.

Rebecca Ferguson is another new addition to this world, and although she dives in with gusto, the “Mission: Impossible” star may spark controversy. Watching the blonde-haired, blue eyed Swedish actress don a brunette wig and play a character who is supposedly Romani makes one pause and go, “Hmm, this seems questionable.” 

The “Peaky Blinders” world has always played fast and loose with the way it depicts that subculture, so it’s not new. But, it’s certainly a choice.

Tim Roth is also a new addition, as a serviceable but underwhelming villain. 

“Peaky Blinders” is a show where actors come in and chew scenery. Remember Tom Hardy’s Jewish gangster, Alfie, or Adrien Brody swooping in to do his best “Godfather” impression? Roth is fine, but pales in comparison to those memorable characters who previously went toe-to-toe with Tommy. (Incidentally, “The Immortal Man’s” biggest crime is failing to include Alfie, the best character).

If you’re the hapless movie date of a “Peaky Blinders” fan and you never watched the show, you could probably watch “The Immortal Man” as a standalone without feeling too lost. Some events and characters from previous seasons are mentioned, but the movie zooms in on Tommy and Duke so much that it’s nearly a two-hander between them. 

“The Immortal Man” gets bleak and grim in places, and it’s a downer, at times. But that’s appropriate for this story. There are just enough classic “Peaky” moments sprinkled in – like a character finding out what happens when you try to menace Tommy, or Murphy majestically riding a horse while the theme song (“Red Right Hand” by Nick Cave & The Bad Seeds) plays – that the whole thing is still pretty fun.

“The Immortal Man” is a fitting swan song to an iconic antihero who is up there with the classics like Tony Soprano and Walter White.