Title: Martin Scorsese’s “Killers of the Flower Moon” Receives Mixed Reviews from Critics
Subtitle: The highly-anticipated adaptation of David Grann’s book leaves critics divided on its narrative execution
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“The four most dreaded words for a film critic are, ‘What did you think?’ And never have they been more problematic than when it comes to ‘Killers of the Flower Moon,’ Martin Scorsese’s eagerly anticipated adaptation of David Grann’s 2017 book of the same name,” writes [Author’s Name] for [Publication Name].
Grann’s book, which chronicled the exploitation, terrorization, and murder of Osage Indians in 1920s Oklahoma, captivated readers with its gripping storytelling and exploration of American capitalism and racism. It is no surprise that Scorsese was drawn to this dark chapter in history, reuniting with frequent collaborator Leonardo DiCaprio and Robert De Niro to bring the story to life.
Yet, the film’s narrative execution seems to have left critics divided. Scorsese’s decision to eliminate the suspense present in Grann’s book, revealing the culprits early on, deprives “Killers of the Flower Moon” of its crucial element of tension. By the time the Bureau of Investigation enters the scene, audiences are already aware of who committed the crimes.
“What we’re left with is a dreadful, sometimes surpassingly dull taxonomy of wickedness,” comments the reviewer. The story unfolds as a slow, methodical account of evil at its most banal, a deviation from the exhilarating crime dramas that Scorsese is best known for. Fans of Scorsese’s previous works, such as “Goodfellas” and “The Wolf of Wall Street,” may find this tonal shift challenging to digest.
Leonardo DiCaprio’s portrayal of Ernest Burkhart, a World War I veteran caught in the web of deceit and murder, is described as anti-charismatic and reminiscent of his performance in “The Revenant.” Robert De Niro brings his characteristic New York charm to his role as Bill “King” Hale, delivering a down-home version of his famous goombah characters.
However, the standout performance comes from Lily Gladstone as Mollie, an Osage woman who becomes Ernest’s love interest. Gladstone’s serene portrayal provides a moral compass amidst the chaos, although she is largely relegated to a passive victim role.
On a positive note, the film’s cinematography captures the beauty and audacity of Osage County, with its stunning depictions of local life and magical realism showcased through Tantoo Cardinal’s portrayal of Lizzie. The chaotic town of Fairfax portrays the clash between modernity and the dark undercurrents of racism and violence.
“As a work of history and heightened political consciousness, ‘Killers of the Flower Moon’ is beyond reproach,” acknowledges the reviewer. It successfully sheds light on a buried truth about the corrupt foundations of the American idea. However, the film’s noble purpose raises questions about its entertainment value and the expectations associated with a Martin Scorsese movie.
Clocking in at 3½ hours, the film tests viewers’ patience with its episodic portrayal of misdeeds. Despite efforts to give the Osage more prominence, Scorsese’s point of view remains that of an external observer, and the inevitable courtroom drama at the end feels somewhat anticlimactic.
In conclusion, “Killers of the Flower Moon” receives mixed reviews from critics. While it offers a necessary reflection on a dark period in American history, its departure from Scorsese’s trademark style may leave some fans longing for the exhilaration of his previous works. Nonetheless, the film’s striking visuals and thought-provoking themes make it a noteworthy addition to Scorsese’s filmography.
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