Killers of the Flower Moon (2023)

Director: Martin Scorsese

Starring: Leonardo DiCaprio, Robert De Niro, Lily Gladstone, Jesse Plemons

Primary genre: Epic

Secondary genre: Western

Third genre: Crime

Fourth genre: Drama

“Killers of the Flower Moon” marks Martin Scorsese’s first film since his larger than life greatest hits compilation of the gangster genre in “The Irishman“ (2019). Adapting the book of the same name, this time there is no distracting de-ageing CGI or a profound sense of deja-vu. Instead this epic western sheds light into an American era that has remained forgotten in history books, rarely featured in modern conversations regarding ethnic cleansing.

This could be easily be “Gangs of Oklahoma” with the systematic killing of rich Native Americans after World War I fitting nicely into the thematically diverse filmography of the American-Italian director. The Osage were considered second rate citizens until of course, they stabled black gold across their land attracting riches and a life of luxury much to the displeasure of the average (and in a nice hint white-supremacist) American. Enter white vultures who devised a plan to inherent this type of money by marrying their women and killing their relatives one by one in a slasher like fashion.

In this admirable and passionate labor of love, Scorsese tackles the movie’s delicate subject through a respectful lens using valuable input from the Indigenous community on a scale that has not seen before since Michael Mann’s “Last of the Mohicans” (1992). A master of tension, he slowly raises the dramatic stakes asphyxiating the audience when shocking violence erupts making this a hard to watch film. As this subject has not been explored before, “Killers of the Flower Moon” presents a unique opportunity to present these events from a fresh perspective: the Native American one showcasing the harsh reality that many members of the Osage tribe faced back then.

However, the primary emphasis on DiCaprio’s (despicable) character really grinds the proceedings to a halt. Easily in need of a 45 minute trim, how many times do you have to see him and De Niro scheming? The script makes it clear from the opening that they are out for blood so any meaningful moments between DiCaprio and his prey (Lily Gladstone) lack the necessary tension. We never get to know (or even understand) her point of view, a fatal flaw considering the amount of tragedy she experiences in a sea of endless betrayals and emotional manipulation.

In the inevitable final act, Scorsese performs a swan dive bringing together all the failed and successful schemes but in this effort he highlights the Natives as complete lighthearted and almost naive individuals in their own movie. “Killers” becomes more an expensive Hollywood vehicle for DiCaprio’s A-list status something that is echoed in the prolonged finale where the script offers an unremarkable pseudo-redemption arc for a thinly sketched protagonist. This marks “Killers” a wasted opportunity to detail in depth the murderous circumstances that plunged the Osage tribe almost into oblivion. The variety of names, locations and acts might even further alienate those who can’t keep track of who is who and who killed whom as events and people are referenced and are rarely seen.

In their 6th collaboration (“Gangs of New York“ (2002), “The Aviator“ (2004), “The Departed“ (2006), “Shutter Island“ (2010), “The Wolf of Street Street“ (2013)) together, “Killers” is perhaps the least noteworthy acting wise for DiCaprio. Easily overshadowed by De Niro (who can play this type of role in his sleep), his one note parasite with a permanently distracting facial expression is utterly unmemorable. Yet, the film belongs to Lily Gladstone who invokes quite moments of strength and dignity further echoing sentiments of making her the main heroine while a few selected cast members do standout in their limited screentime including a fresh from his Oscar Brendan Fraser and John Lithgow.

Opposing vehemently the state of modern cinema, the greatest living director today however is at his worst still the best amidst a sea of mediocre and idiotic puppets who kiss the a** of large corporations (e.g., Disney) for shallow entertainment and a quick buck. You would think this engaging story could not be visually represented through a Scorses-ian eye, yet here we are, the beloved New Yorker employing all his signature tricks: one (and complex) track shots, slow mo, authentic soundtrack, atmospheric and spotless cinematography and of course a technically superb production and costume design that does shine on the big screen.

“Killers of the Flower Moon” is a splashy auteuristic output with a $200 million dollar price tag that does not involve a flying cape, a blue beam and copious amounts of unrendered CGI but features a story in need to be told, heard and seen even if this hugely ambitious artistic gamble loses its compelling focus during the last act.

Poignant but very long

+Cast

+Lily Gladstone is standout

+Killer soundtrack/score

+Scorsese’s energetic direction

+Respectful to Native American customs

-Wasted opportunity to explore the Indigenous side

-Baffling main character

-Unnecessarily long

-Indigenous people have no agency