<b>INT. GANGSTERS IN OKLAHOMA - DAY</b> Film students, film lovers, cinema-goers, and reviewers rejoice! <i>Martin Scorsese's</i> latest film is excellent! <i>The Irishman</i> might have been his last 'gangster' film. Still, the apple doesn't fall far from the tree, <i>Killers of the Flower Moon</i> might not be a gangster film, but there are many 'mob' elements within it. The biggest fear people had going into this film was the runtime. Weeks before the release, speculations came out about the length of this film. I saw an article stating it would be 4 hours long! Alas, it's only 206 minutes long, not even coming close to the longest film here at Cannes. I can confirm that the film never drags its feet for too long; there are times when it slows down, but this is only during the film's opening hour. Thankfully it quickly picks up the pace and goes by fast once the whole ensemble is introduced. <i>Jesse Plemons</i> is a late bloomer in the film, only being introduced 2 hours in; as I said, this is where the film starts moving. The story is simple: During the 1920s, oil was discovered on Osage Nation Land. Turning them into the richest people per capita in the world! <b>Ernest Burkhart</b> (<i>Leonardo DiCaprio</i>) returns to work for his uncle, <b>William Hale</b> (<i>Robert De Niro</i>). Ernest meets <b>Mollie</b> (<i>Lily Gladstone</i>), and they marry. However, slowly many of Mollie's friends and family are murdered, with those who married into the family taking ownership of the land—eventually, the FBI steps in to investigate. Lily and Leo have excellent on-screen chemistry, with Lily performing phenomenally. I hear talks about the Oscars for her, which is entirely valid. De Niro steals many of the scenes he's in, often providing the most laughs. He is ultimately the most 'mob-like character within the film, never pulling the trigger but commanding the troops. Jesse Plemons is the final major character within the story as <b>Tom White</b>. Unfortunately, Plemon's isn't that interesting; I wonder if Plemons wasn't given much direction or if he decided to make the character this way. Still, White moves from scene to scene without much interest. He's just there, leading the FBI but never being an individual; I didn't remember his name after the film; I just referred to him as 'FBI guy.' Technically, <i>Killers of the Flower Moon</i> is a marvel (Not that Scorsese would like me saying the word 'Marvel'), but just like all of his films, everything is great. Nothing stands out as 'excellent'; the score, editing and cinematography are at the level you'd expect from the mind of Scorsese. This leads me to my final thoughts on the film; recently, Martin has been talking about his age and his ability to make films like he used to. Scorsese is 80 years old and doesn't believe he has the same drive as <i>Ridley Scott</i>. Suppose this is to be his final film. In that case, I'd be happy knowing it's not a significant departure from what made him the famed director but a story worth telling from a creator who will continue to be studied and praised for the next many decades. <b>FADE OUT.</b>

First things first. There is absolutely no need for this to be 3½ hours long. It follows the story of the ambitious "Ernest" (Leonardo DiCaprio) who arrives at the Osage home of his venal uncle "King" (Robert De Niro) who encourages him to ingratiate himself with the wealthy, indigenous, population. He ends up meeting and driving the independent, no-nonsense, "Mollie" (Lily Gladstone) and after a while she starts to fall for his charismatic charms, they fall in love and marry. Though he does love his wife, "Ernest" proves to be a rather fickle and violent man who loves money more - and at the behest of his outwardly benign relative starts to implement schemes that will ensure the rights to the oil well heads move swiftly - and frequently brutally - to more "suitable" owners. This sudden spate of "accidents" and killings and the prudent action of the fearful local council alert the authorities in Washington who despatch a team of FBI agents led by the tenacious "White" (Jesse Plemons) to get to the bottom of things. Perhaps the "King" house of cards might now be becoming just a but precarious? DiCaprio is very effective here. He plays well a man who juggles internal demons and conflicts as he is cleverly manipulated by an on-form, slightly menacing, De Niro. It's Gladstone who steals the show for me, though. She plays the role of the decent and loving - but shrewd and savvy - "Mollie" strongly. As she starts to become a victim of her husband's avarice she exudes a sense of desperation that is both pleading and dignified and her struggle is potently illustrative of just how far the "white" man was prepared to go to get to - and keep - the money. The film is beautifully shot with a plausible look that helps generate for the audience a true sense of just how this outwardly genteel and civilised society was really anything but and the writing clearly interweaves the clandestine aspects of the the plot with the more noble ones. Perhaps sacrilegious to say, though, but at times it does really drag. I felt it could easily have lost an hour, condensed the story and immersed us more quickly in the characterisations and not really suffered. It's a good film, but it's not a great film and unlike Scorsese's far better "Irishman" (2019), I'm not at all sure I will rush to watch it again.

Hats off to Martin Scorsese, once and once again. This right here shows us the real power of cinema.

This movie was well-made, though its structure seemed familiar. It is a Scorsese film so perhaps it was the mob-like plot: a wealthy big shot tries to appear as a benign community leader, while he buys local political and law enforcement protection, has others do the dirty work, and throws any of them under the bus if the corruption is exposed. Just substitute the native Osage lands for the inner city neighborhood. In this case, rather than bootlegging, gambling or prostitution, the bad guy (William Hale) traffics mainly in murder. The goal is to have the sale rights of the Osage people’s oil land transferred from the murder victims to a white spouse in bad guy Bill Hale’s pocket, or through other machinations, to him directly. The screen time is mostly taken up by Hale, his nephew Ernest Burkhart and Burkhart’s Osage wife Mollie. Ernest loves her but he is weak and kowtows to Hale’s wishes, even to the point of endangering his wife. Finally he — but I won’t give anything further away in the plot. The only criticism I will make is that a lot of people are murdered in this story, especially from Mollie’s own family, and we see very little about the other victims except for a little insight into Mollie’s wild sister Annie. If you are going to use 3 1/2 hours to tell a story, I think a tad more character development on some of the victims would not go amiss. However, the movie is well-made, as I said earlier, but I don’t see that I will feel driven to watch it again down the road.