Jacked In Reviews ‘Killers of the Flower Moon’ (2023)

As we open on members of the Osage people amid – what can only be described as – a spiritual oil rave, you are immediately hooked for what is to come next in Martin Scorsese’s adaptation of David Grann’s book (of the same name), Killers of the Flower Moon.

The opening sequence demonstrates the two main strengths of this feature…

The opening sequence demonstrates the two main strengths of this feature, the alluringly gentle, yet impactful cinematography, courtesy of Rodrigo Prieto (Barbie, The Irishman & Wolf of Wall Street) and the groovy native score that shakes the soul and fills your ears throughout – brought to us by Scorsese veteran, the late Robbie Robertson.

Set in 1920s Oklahoma, we witness the aftermath of oil being discovered under Osage nation land, the wealth that was bestowed on the Osage people due to this but also… the murder that followed.

To a British, non-historian, the film serves as an abysmal, yet intriguing history lesson regarding the tale of the Osage nation and the atrocities they faced. Whether or not the movie has more impact on American audiences may be moot, as going into this story completely blind doesn’t take anything away from the enjoyment.

How can greed cause people to sink to such loathsome, unforgivable depths?

Unlike the book, the movie doesn’t follow the whodunnit structure. The guilty parties who are responsible are actually revealed quite early on, in such a flippant, nonchalant way that it almost reinforces the lack of care towards these fatalities. It also adds a different dynamic to the story entirely, as you’re no longer asking the simple “Who?”. You’re more asking yourself “How?”… How can greed cause people to sink to such loathsome, unforgivable depths?

At the forefront, we have Ernest Burkhart (Leonardo DiCaprio) and William ‘King’ Hale (Robert De Niro). Two leading favourites for Scorsese but this marks their first joint outing in a picture by said director. With our first glance at his crooked smile, DiCaprio’s character is immediately established as he presents us with this impressional imbecile opposite De Niro’s tactful titan. The two individuals are at different ends of the spectrum in terms of power but are both bonded by their parasitic nature.

Although arguments could be made for Ernest and King being the main focus, thus distracting viewers from the heart of the issue the story is trying to address, it is precisely this detraction which makes it so apt – as the Osage victims become lost in the background.

Gladstone effortlessly chews up the scenery – with this layered character who brings a silence that carries so much strength and wisdom.

Given it’s a Scorsese flick, it’s no surprise we have a powerful female character. In this case, it’s in the form of Mollie Burkhart (Lily Gladstone). Gladstone effortlessly chews up the scenery – with this layered character who brings a silence that carries so much strength and wisdom. She holds it together – more than the average person would – as her family members perish around her one by one. This provides a brilliant contrast opposite her feckless, chatterbox, partner, Ernest.

A strength of Scorsese’s that we’ve seen time and time again, is his uncanny ability to deliver a movie but make it feel authentic, almost as if you’re a voyeur, a fly in a cinema seat resting on the wall, peaking into these people’s lives. And that is why criticisms of the long runtime fall by the wayside as the feature seamlessly lures you into the 1920s, with a pleasant pace that negates the need to look at your watch.

The third act brings us the enjoyable investigative segments, led by FBI Agent Tom White (Jesse Plemons) and does a good job of strengthening the nature of each character. The jury is still out on whether the cameos from Brendan Fraser and John Lithgow serve as a pleasant surprise or a bit of a distraction, seeing them in roles that have neither highs nor lows.

It is refreshing to see such a prolific director so far into his career, still being able to explore unknown territory with new, innovative ways of storytelling.

At the surface level, it’s a very Scorsecian movie. Set it in New York and you’d almost feel right at home with one of his usual crime, thrillers – even Mrs Robinson playing during the finale accompanied by informative captions wouldn’t feel out of place. However, this style is earned by being 26 movies in. Beyond these aspects, this is unexplored terrain, not just for the director but American cinema in general, with this hard-hitting piece of filmmaking for a part of history that has been overlooked. It is refreshing to see such a prolific director so far into his career, still being able to explore unknown territory with new, innovative ways of storytelling.

It’s sad to see the creative control dwindle for filmmakers these days but hopefully, the pendulum starts to swing back – as Scorsese passionately demonstrates why it’s so important that they are able to put the stories they wish to tell onto the big screen. This is truly emphasised by the final words in the movie which are spoken by the director himself.

---