Director: Martin Scorsese
Starring: Leonardo DiCaprio, Robert De Niro, Lily Gladstone, Jesse Plemons, Tantoo Cardinal, John Lithgow, Brendan Fraser
Certificate: 15
Run Time: 206 mins

Killers of the Flower Moon is the latest by Martin Scorsese and an adaptation of David Grann’s 2017 non-fiction novel of the same name. The book is a must-read and tells the sickly story of how the Osage community are systematically murdered in the 1920s after oil is discovered on their tribal land. Grann’s novel is divided into three parts – the first largely from the perspective of the Osage community, with the murders presented as a mystery. The second part is framed around the newly formed FBI’s investigation, led by Tom White, and the third and final part is a chilling, retrospective investigation performed by Grann himself. 

The novel doesn’t particularly lend itself well to a film adaption in the way it’s formatted and Scorsese knows this. He chooses to tell the story from the perspective of the villains – largely William Hale (Robert De Niro) and his nephew, Ernest Burkhart (Leonardo DiCaprio). This film represents the first time Scorsese unites his two key career collaborators.

Hale presents himself as a friendly benefactor of the Osage, often referred to as ‘King’ but secretly schemes to murder them and steal their wealth. He tells Ernest to court Mollie (Lily Gladstone), whose extended family own oil headlights and a romance develops between them, with members of her family slowly and mysteriously bumped off. 

Killers of the Flower Moon is, for the most part, an excellent adaptation. It earns its 206 minute run time with its sprawling, fascinating story and Scorsese takes his time to develop the characters. He immerses you in the terror felt by the Osage, that no-one is safe on their own land with greedy wolves scheming from every corner. I was particularly impressed how like in The Irishman, Scorsese presents the horror in quite an understated way, raw and fact-of-life. Although a revisionist Western first and foremost, there’s still many of Scorsese’s gangster elements to be found, from fatally flawed men to America’s founding myths.  

Of course, being a Scorsese picture, the film has real big screen beauty and is handsomely shot by regular cinematographer Rodrigo Prieto. He gorgeously captures the expansive Oklahoma vistas and holds onto a shot for uncomfortably long during heinous murders. The stunning cinematography and assured direction is paired with a haunting, bluesy final soundtrack by Robbie Robertson (who sadly passed away in August). A heartbeat motif that is repeated throughout the film is particularly effective, lending a feverish quality. 

Scorsese has extensively publicised how the screenplay was written when he and co-writer Eric Roth realised telling the story from the Osage perspective was more appropriate. While the shift in focus works, the fact we know Hale is despicable from the off removes an element of mystery that Grann’s novel had. I’d have liked to have seen more of the FBI storyline (which the film somewhat simplifies) and a deeper exploration into the Osage, particularly Mollie and how a character initially presented as impenetrable succumbs to Ernest’s charm. Still, Scorsese’s decision to have DiCaprio and De Niro’s characters as the film’s centre allows them to showcase their talents and boy, do they. 

DiCaprio’s reliably excellent as Burkhart, an individual who is easily manipulated with large, stained teeth. De Niro is also clearly having fun as Hale and is particularly chilling in how he integrates himself into the Osage community, a wolf in sheep’s clothing who has learned their language and presents himself as the community’s caretaker. 

Lily Gladstone’s performance, however, trumps the duo. Her performance is brilliantly restrained, yet devastating quiet and we still feel her character’s presence over proceedings as she becomes increasingly sidelined. All three lead performances are likely to garner awards attention. 

Jesse Plemons also turns in a career-best performance as FBI lead Tom White, but is sadly underused. Had the film been more faithful to the book, Plemons would be up there with the leading trio. There’s some other impressionable performances too, William Belleau as the melancholic Henry Roan and Gene Jones is particularly gleeful as Pits Beaty, the man who effectively gets to decide when and how the Osage can use their money. Finally, Brendan Fraser shows up in the third act as Hale’s attorney W. S. Hamilton in a performance straight from The Whale – I can’t decide if it’s a terrible performance or quietly brilliant because a lawyer would typically act overly theatrical if they’re having to represent a criminal who has no hope of being reasonably defended.

I didn’t have an issue with the film’s 206 minute length and if anything, I wanted it to be longer. The fascinating story certainly warrants further exploration. The final scene, which serves as an alternative take on an epilogue to wrap up proceedings, really rubbed me the wrong way. It felt forced and a surprising cameo came away as overly gratuitous. 

Killers of the Flower Moon is ultimately a strong adaptation of first-class source material and we should cherish the fact that Scorsese is an octogenarian auteur still at the top of his game. The performances are top-notch across the board and its uneasy depiction of how white privilege essentially destroyed the Osage community through plain hatred and greed in plain sight is to be applauded. 

While I’m mostly very pleased with Scorsese’s adaptation, I wonder if it would have worked better as a five hour television series, split into one hour episodes. A deeper exploration into the Osage community, especially Mollie, the formation of the FBI and its investigation, and finally the events that took place after the film’s timeline would have really been satisfying to see. Grann’s novel worked wonders with its contemporary exploration into the atrocities that functions as a thematic sledgehammer over the narrative and while Scorsese’s film sports most of the goods, its disappointing final scene isn’t the emotional wallop the film needs and deserves. Despite the odd ending, Killers of the Flower Moon still winds up as one of the best films of 2023 and a must-see.

⭐⭐⭐⭐ (Excellent)