MPAA Rating: R/Genre: Epic Western Crime Drama/Stars: Leonardo DiCaprio, Robert De Niro, Lily Gladstone, Jezy Gray, Jesse Plemons, Tantoo Cardinal, John Lithgow, Brendan Fraser, Cara Jade Myers, JaNae Collins, Jillian Dion, Jason Isbell, William Belleau, Louis Cancelmi, Scott Shepherd, Everett Waller, Talee Redcorn, Yancey Red Corn, Tatanka Means, Tommy Schultz, Sturgill Simpson, Ty Mitchell, Gary Basaraba, Charlie Musselwhite, Pat Healy, Steve Witting, Steve Routman, Michael Abbott Jr., Jack White, Pete Yorn, Larry Sellers, Barry Corbin, Steve Eastin, Elden Henson, Katherine Willis, Gene Jones, Larry Fessenden/Runtime: 206 minutes
I think it’s safe to say that if you were to make a list of the top 10-20 film helmers of the past 5-6 decades then one name that would without question have to be on there would be Martin Scorsese. To be sure, this film icon is mostly known by the majority of audiences for his crime dramas such as GoodFellas, The Irishman, and Casino to name a few examples. Even with that in mind though, there is no denying that this man’s body of work is actually more diverse than that with everything from a family movie in 2011’s Hugo, religious films like 2016’s Silence and 1988’s The Last Temptation of Christ, thrillers like 1991’s Cape Fear and 2010’s Shutter Island, dark comedies like The Wolf of Wall Street and 1985’s After Hours, and even a concert film about The Band from 1978 among others thrown in for good measure. Suffice it to say that there really is no denying that the man has most assuredly made his mark and then some in the fabric of cinema in such a way that anytime a new cinematic project of his is announced I am instantly at the very least 5-10 times more intrigued and interested than I normally find myself. Yet I can’t lie to you dear reader: when it was first announced that this film legend was going to be directing a cinematic adaptation of the non-fiction novel, and slice of cinema I am reviewing for you today, Killers of the Flower Moon I was more than intrigued. Rather, I was downright excited. Not just because Scorsese was directing and not because he was able to get both of his creative muses in Leonardo DiCaprio and Robert DeNiro to star in a feature-length movie together for the first time since at least the 1996 drama Marvin’s Room. Instead, it was because having both read the source material and knowing the history behind it I was absolutely intrigued as to see how a filmmaker of Scorsese’s talent and skill would go about bringing it to life. Thankfully, I can say that, upon having seen the finished product, my faith in Scorsese and his collaborators on this both behind and in front of the camera was well warranted. With that in mind though, it is worth noting that whilst this slice of cinema is one that is absolutely nothing short of extraordinary, it is also something else. Namely, it is also a slice of cinema that I feel is coming out at just the right time. I say that because it really does feel like there is an astonishing degree of hesitation to be found in the world around us to not only become aware of, but to also come to terms with some of the more heinous things that have been done in the history of this country. Something that I can praise this slice of cinema wholeheartedly for attempting to firmly and pointedly give the audience a motivation to do so. Even with that in mind however, there is no denying that, with the aid of potent work on both sides of the camera, Killers of the Moon is not only a riveting and striking story being given to movie goers from one of the best to ever yell “Action!” let alone put his hands on a camera, but also another entry in his legendary filmography that I promise audiences will be going back to view time and time again for generations to come.
The plot is as follows: Based on true events, and an adaptation of the novel of the same name by David Grann, Killers of the Flower Moon gets its riveting cinematic yarn underway by taking us back in time to Oklahoma around 1919-1926. It is in this time and place that we are introduced to a veteran of the first World War by the name of Ernest Burkhart as he makes his arrival in the city of Fairfax to try and carve out a new beginning for himself following a wound acquired during the conflict really doing a number on his hireability. We soon learn that the reason Burkhart is in this locale is because it is here that his uncle, one William “Bill” Hale, aka King Hale as he is known around the community, resides. A man who, among other attributes worth knowing about him, is one of the more influential members of a community that has seen its fair share of change. This is primarily because even though the Native American tribe in the area known as the Osage was moved on to their land by the U.S. Government, this had kinda backfired on the government when vast amounts of oil was discovered on that very land. As a result, it wasn’t long therefore that more than a few members of the tribe became incredibly well-off as a result even if their interactions with the white people in the surrounding area was still very much mixed at best. Of course, it should come as no surprise to learn that when a thriving bachelor like Ernest makes his way there that his Good ol’ Uncle Bill asks him what type of woman would he be interested in courting and eventually settling down with and Ernest makes clear that he would be ok with being involved with a Native American woman. As a result, we see that Bill gently yet firmly makes clear to Ernest that it would be to his benefit if he got together with a woman from the Osage Nation for….obvious reasons. Thus, we soon see that Ernest decides to start attempting to woo a woman from the Osage Nation by the name of Mollie Burkhart and it isn’t long before their low-key flirting soon blossoms into romance and a “happy marriage”. Or at least that seems to be the case for one. Not that the other doesn’t have love for their spouse. It’s just that I think there’s more of an attraction to what this marriage is about to do to their net worth if you get my drift. Yet just as it looks like the two are about to go and live happily ever after to the end of their days, we soon that they, and the rest of the community, are rocked by a startling calamity. That being that an ever-increasing number of Osage are starting to die in a string of brutal and ruthless murders. Suffice it to say that as the body toll begins to rise, and hit closer to home, we see our two lovebirds are quickly faced with some very difficult questions. Questions that the answers to will prove to be an equal mix of heartbreaking, soul shattering, and reveal more about these crimes than they could ever have imagined……
Now right off, it is worth noting that the work done behind the camera on this slice of cinema is nothing short of absolutely majestic. This starts with how, working beside a co-scribe named Eric Roth on this, we see that Scorsese has managed to sculpt for our viewing pleasure a riveting incredibly multilayered narrative that as things escalate it isn’t long before the layers are then intricately and steadily removed so that eventually we are shown not just a dastardly plot, but just who all is involved in it. With that in mind though, you should know that there isn’t a whole lot in the way of mystery to this whole affair as Scorsese has no qualms (even if I do to a fair extent) about letting us in on who’s behind all of this fairly early on. Even so however, there is still an incredible amount of suspense to be garnered here in terms of seeing just how far the people behind these atrocities were willing to go, but also an equal amount of righteous anger and disgust when it comes to witnessing both the heartbreaking fallout of those actions to say nothing of the immense failure on the part of local law enforcement as well as the federal government’s twisted guardianship system to keep these people safe. It is also worth pointing out in this section that this slice of cinema has managed to do an incredible and, even better, authentic job at taking us back in time to show us what life was like in this area during this distinct era of American history right down to the utilization of the Osage language, their attire, and even the respectful showcasing of both their customs as well as their attitudes toward each other and their white neighbors. Along with that, we see that this slice of cinema is the blessed recipient of terrific work in the cinematography department from the brilliant Rodrigo Prieto. Indeed not only does every shot in this slice of cinema look like it could also double as a painting that could be hanging up in someone’s home, but it all manages to look consistently jaw-dropping in terms of its levels of gorgeousness and skill. Perhaps the key example that best comes to mind for this reviewer is a shot very reminiscent of the “Copacabana” one from GoodFellas where we see the camera weave its way majestically through Mollie’s home and observe all of the members of her family during a get-together that, knowing how things would eventually play out for this family, proves to be a genuinely beautiful yet heartbreaking moment in the movie. It is also worth noting that this slice of cinema is also the blessed recipient of a terrific musical accompaniment from the tragically late yet phenomenal Robbie Robertson. Indeed Robertson was always a talent and a half and here is no exception as we see that what he manages to contribute to the film is an appropriately ominous score that plays like an ominous blend of creepy blues as well as work on the drums that sounds less like a score and more like that of a heartbeat which you really shouldn’t be surprised if every time you hear it a shiver or 5 proceeds to go up and down your spine. Finally, I have no doubt that there are going to be those who look at this slice of cinema and fairly quick raise an eyebrow at the fact that this film is over 200+ minutes long. With that in mind though, I feel that lengthy runtime was definitely warranted since by doing so this slice of cinema’s narrative is able to really sink its hooks into you on the level that it desires to.
Of course, it should also come as no surprise to learn that the performances given by the more than capable cast of players in front of the camera prove to be just as engaging as the work done behind the camera in bringing this riveting narrative to life. This starts with the work done here by Leonardo DiCaprio and, for as brilliant as this icon has been through his career, I think this is easily one of the 5 best performances of his career to date. Indeed the character of Ernest is a very difficult one to portray. Not just due to the fact that, if we’re being honest, the guy isn’t exactly the brightest lightbulb in the 12 pack to say nothing of the fact that the man’s morals seem to constantly enjoy dancing around, but also because of the fact that we are constantly left throughout the movie wondering if he genuinely does love the woman who eventually becomes his wife. Yes, there are quite a few times where we hear him confess that he has much more of a love for the ol’ dollar and coin, but as the story unfurls for us as movie goers we see that there is more than one occasion where the creative powers brought by DiCaprio, complete with a bulldog-like scowl often on his face, are consistently ensuring that we are left having to recalculate our comprehension of this character right up until the very end. Suffice it to say that it is one heck of a multifaceted performance and DiCaprio plays it beautifully. Equally as good as DiCaprio is however is the work done here by DeNiro in the role of Hale. Indeed DeNiro has always been a talent to be reckoned with and here he shows why by giving us a character that, without going into spoilers, is the kind of guy who has no qualms about giving you a pleasant grin and embrace if only to ensure that he is giving others time to put a sharp jagged blade into your ribs whilst doing so. Suffice it to say that it is another wonderfully hiss-worthy performance from a legend who has given us more than his fair share and then some of those. With the work done by both DiCaprio as well as DeNiro in mind however, I have no doubt in my mind that the work in front of the camera that will impress you the most is the performance given by Lily Gladstone as she manages to easily give the finest performance in the film through a masterful mix of spirit and sensitivity. Indeed, her take on Mollie might not say that much, but Gladstone manages to make up for that by providing her with a sense of purpose, observation, and insightful degree of skepticism. Along with that however, we see that Gladstone also does a phenomenal job of ensuring there is a side to this character that is willing to love and trust despite her inherent skepticism. However, when her world starts falling apart, it isn’t long before we begin to slowly but surely see her soul just be torn to shreds right before our very eyes even as she also begins to piece together just who is responsible for bringing this tragedy down upon her as well as her family let alone her people. Suffice it to say that it is a truly haunting yet mesmerizing turn and one that I won’t be forgetting anytime soon. Suffice it to say that when you also incorporate into the mix such wonderful support efforts from such talents as John Lithgow, a brilliantly sleazy Brendan Fraser, Scott Shepherd, the always enjoyable Jesse Plemons, Sturgill Simpson, Pat Healy, Barry Corbin, and Elden Henson among others it’s clear that whilst this slice of cinema might have a hiccup or two, the work done by this immensely talented group is most assuredly not one of them.
All in all and at the end of the day dear reader I have no shame in saying that I absolutely was enthralled from start to finish with Killers of the Flower Moon. To be sure, there are a few minor hiccups here and there plus I have no doubt in my mind whatsoever that there are going to be those of you who see this slice of cinema’s 3.5-hour runtime and get cold feet about watching it at all. With that in mind though, I would like to implore you to see this slice of cinema no matter if it’s in theaters or if you decide to check it out at home once it makes its way onto a streaming platform near you. To be sure, this slice of cinema does have some truly incredible work being done behind the camera with particular regard to the work at the helm, the story, the cinematography, the musical accompaniment, and even its wonderfully degree of authenticity for both the time period as well as the Native American tribe at the heart of this story, but that’s not the reason I implore you to see this. Nor for that matter is it because this slice of cinema is the blessed recipient of some truly incredible work done by an immensely talented cast of players in front of the camera no matter how big or small their overall role in the grand scheme of the film’s 206-minute runtime may be. Rather, the reason I implore you to see this slice of cinema dear reader is because of the fact that, more than anything else, this slice of cinema is also a potent ode to the integrity and bravery that a phenomenal helmer like Martin Scorsese is able to wield when choosing to showcase for us a moment in American history that, regardless of your own racial/ethnic background, was and still is one of the more horrendous atrocities committed against a group of people whose only crime was that they had something that other individuals were willing to do anything, right down to cold blooded murder, to obtain for themselves. Suffice it to say then that Killers of the Flower Moon is more than one of the finest slices of cinema I have seen so far this year. Rather, it is a powerful reminder that I hope will continue to reverberate now and always for if we fail to stop the past from repeating itself then how pray tell do we expect to improve as a species? Make of that what thou will. On a scale of 1-5 I give Killers of the Flower Moon “2023” a solid 4.5 out of 5.
