Killers of the Flower Moon

As a fan of perfect two-hour movies, I do not enjoy prestige directors flexing their clout by indulging in bloated film times. Scorsese (The Irishman), Nolan (Oppenheimer), Cameron (Avatar: The Way of Water), Luhrman (Elvis) and Speilberg (Fablemans)are all guilty. So it brings me little joy to say that this film does justify its 3.5-hour runtime.

Martin Scorsese (Goodfellas, Taxi Driver, The Wolf of Wall Street) and co-writer Eric Roth (Dune, Mank) boldly take David Grann’s excellent, 2017 nonfiction page-turner and shift its focus to create an unforgettable, historic epic. 

The true story unfolds in the 1920s when White American settlers had forced the Osage people to migrate from Kansas to Oklahoma. This displacement was swiftly succeeded by a rush of oil and the emergence of a booming Osage town. However, this newfound wealth came at a steep cost, with a trail of murders and intricate conspiracies aimed at gaining control over the substantial fortune.

The original novel places its emphasis on a criminal investigation, unveiling the birth of the FBI as it gradually unravels the identity of the perpetrators with the suspense of a classic whodunit. Killers of the Flower Moon, the film, is more interested in bringing audiences right into the victimized tribal family and getting up close with the killers from the start. We see and feel the weight of these decisions.

The early neighborhood shootings and bombings recall scenes in Scorsese’s Goodfellas but as we get to know the characters, this evolved story becomes more intimate, personal and more powerful. Scorsese masterfully offers an intimate, visceral experience of how the conspiracy left an impact on individuals, families and the entire Osage community.

Additionally, give credit to Lily Gladstone (Reservation Dogs) as Mollie Burkhart. She shoulders the emotional narrative in a quiet performance that is unnerving.

 

Leonardo DiCaprio does some of his finest work as her husband, Ernest Burkhart. Robert DeNiro as William Hale and Jesse Plemons as FBI agency Tom White round out the top-notch cast.

At the core of the film lies the unsettling love shared by the Burkharts. Lily was always aware of wolf Ernest's ulterior motives, driven by avarice for her wealth, however, their deep affection for each other endured. 

In a chilling moment, when presented with an opportunity for honesty, Everett remains silent, betraying her fully and setting the stage for the film's climactic act. This bold and boffo conclusion avoids a clichéd courtroom scene, redefining Scorsese as a more contemporary filmmaker than his recent work implies.

Not that it matters. He's Martin Scorsese and this is both masterful moviemaking and also one of the finest films of the century.

In a nutshell: A masterpiece. Despite approaching four hours, it feels like two. I’d see this one again.

Where to see it: In theaters now; see it on the big screen.

Would it be better with Olivia Colman: Of course.

Award potential: All major categories for a large tally of nominations. Except editing.

The Ten Buck Review: Worth ten bucks.

saltburn

Saltburn is a captivating and stylish thriller that manages to remain engrossing even though it treads very familiar ground. Drawing inspiration from sociopathic classics from The Talented Mr. Ripley and You to the recent surge of satirical narratives on wealth, exemplified by Triangle of Sadness and White Lotus, this story echoes a wave of themes we’ve seen on screens of all sizes lately.

However, the standout performances keep you glued to the screen. Barry Keoghan (Banshees of Inisherin, Dunkirk) is fire as Oliver as student obsessed with fellow student and aristocrat Felix Catton (Jacob Elordi). Elordi (Euphoria, Priscilla) is equally dazzling as the posh Felix who invites Oliver to the family estate for the summer. Together, they exude undeniable star power.

Enter Rosamund Pike (Gone Girl, An Education), who shines as Felix’s mother and steals most scenes from Richard E Grant (as her husband and Felix’s father). Carey Mulligan (Promising Young Woman An Education), simply disappears into a small cameo role.

Writer-director Emerald Fennell (Promising Young Woman) stumbles a bit with noted familiar storyline, some sophomoric stunts and a fumble on when to close the show, but the Oscar winner for best original screenplay, for her first film ever, punctuates her sophomore outing and second sociopathic thriller with an unforgettable finish that Keoghan swings into with swagger.

The dialogue given to this exceptional ensemble is rich with witty banter, skillfully weaving in reflections on wealth disparity and the repercussions of obsession. Although it is hard to love this film, Saltburn undoubtedly earns a place as one of the better popcorn thrillers this year

In a nutshell: A familiar thriller peppered with some sophomoric stunts but saved by a great cast and witty script.

Where to find it: In theaters, beginning November 17, 2023.

Would it be better with Olivia Colman: Of course.

Award potential: In a year like last, Keoghan would take the Paul Mescal (Normal People, Aftersun) slot. But this year he's up against titans Cillian Murphy, DiCaprio, Bradley Cooper, Colman Domingo and Jeffery Wright — and dark thrillers rarely rise. Elordi

and Pike will and should also be on most shortlists but I don't expect this twisty tale to blow up award season.

The Ten Buck Review: Worth ten bucks