Over the last few years, it’s felt like “another day, another Martin Scorsese gripe about the state of film.” Even your most hardcore cinephile is ready to move on from the shots taken at the Marvel Cinematic Universe and other films on the legendary auteur’s radar.
Amidst that fuss comes Scorsese’s latest film, Killers of the Flower Moon, which caused another stir with its 3.5-hour runtime. Starring Leonardo Dicaprio, Robert De Niro, and Lily Gladstone, the film adapts the book by the same name, which focuses on the real-life series of Osage Native American murders in Osage County, Oklahoma in the 1920s.
With his biting commentary and staunch commitment to traditional cinema, Scorsese has a lot riding on this one. Is Killers worth the fuss and the 3-plus hours of our time it wants? The answer is a resounding yes on both fronts.
On the acting side, there’s no way to describe it other than outstanding. It would be a good idea for DiCaprio, De Niro, and Gladstone to invest in a formalwear wardrobe because they will get a lot of use from it this awards season.
DiCaprio’s Ernest Burkhart seems unfamiliar on its face as he’s the polar opposite of the cunning leading man we’ve grown used to seeing. Yet, the DNA of his past work becomes evident as you delve further into the character and movie. His turns as D’Jango’s Calvin Candie, The Great Gatsby’s Jay Gatsby, and What’s Eating Gilbert Grape’s Arnie quietly present themselves at varying points throughout Killers. The way DiCaprio brilliantly melds them into an entirely new character will easily place him in this year’s Best Actor categories.
Conversely, De Niro is in more familiar territory but is no less spectacular. He has a screen presence so dominant it feels like he is the lead actor in Killers instead of DiCaprio. However, he pulls this off rarely registering above a conversational tone in addition to taking you on more of an emotional rollercoaster than DiCaprio’s range masterclass. He’s my current frontrunner for Best Supporting Actor awards after this one.
Last but certainly not least is Gladstone, Killers’s heart. If DiCaprio and DeNiro are the style that dazzles, Gladstone is the substance that holds the film together and reminds the audience this film is a true story. While the number of her lines pale compared to her male counterparts, the face acting and conveyance of grief she displays one tragedy after the next more than makes up for it and places her near the top of best actress performances of the year at this point.
Aesthetically, Killers looks drastically different from the usual Scorsese fare, thanks to the work of frequent Scorsese collaborators cinematographer Rodrigo Prieto and editor Thelma Schoonmaker. The duo primarily uses the Osage sun and incredible shots of the region’s landscape with pitch-perfect color temperatures to give the film a look more akin to Ari Aster’s Midsommar than Scorsese’s past and recent outings. It’s not all sunshine and flowers, as there are some fantastic shots of the unfiltered violence Scorsese often features. Still, it gives the audience an idea of what’s at stake in the director’s most heartbreaking film.
Nevertheless, despite being at or near the top in the abovementioned areas, Scorsese is still the star of Killers. The script, which he co-wrote with Eric Roth, educates as much as it entertains with nary a dull moment. The initial 45 minutes may feel slow, but its world-building is fundamental to understanding the gravity of what takes place as Killers progresses. If you only possess a passing knowledge of the tragedy, the story unfolds as a whodunit. Alternatively, for those with a more thorough understanding of the Osage murders, it is a raw but profound retelling of one of our nation's darkest, cruelest periods.
Scorsese in the director’s chair is equally spectacular. He keeps the film at a pace meticulous enough for the audience to stay fully immersed in examining the time’s tragic events. Before it gets too bogged down in the details, Scorsese skillfully inserts his signature humor and shock-inducing gore to break the monotony. In addition, his references to the attacks on Black Wall Street in Tulsa and seamless connection to the Osage murders is a small yet much-needed and appreciated inclusion to this masterpiece.
For all the criticism Scorsese has taken on his thoughts about the current state of cinema and the runtime of his films, Killers is a testament to the fact you can’t put a limit on quality. It takes a while to get going and lasts the length of a day trip, but Killers is premium storytelling that requires much and gives back more.