The film, based on a true story, stars Leonardo DiCaprio and Robert DeNiro in a story set amid a string of murders of Native Americans in 1920s Oklahoma
Martin Scorsese’s “Killers of the Flower Moon” is a bladder-buster of a movie with no obvious bathroom break, no section where the story starts to sag. This makes it, almost by definition, a good and admirable piece of work. But “Killers of the Flower Moon” is also a lumbering mess, an ungainly and tonally odd film that, for all the strength of its parts, has little cumulative impact.
By contrast, in a movie set in New York, Scorsese always knows exactly why a rant by, say, Joe Pesci, can be simultaneously terrifying and hilarious. Here, Scorsese is lost in the prairie. The filmmaker’s second problem, which is considerably more serious, is that he comes at the story from an odd angle. He doesn’t follow Hale, who is the villainous mastermind, and he doesn’t follow the federal investigator who is looking into the crimes.
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