Information reaching Kossyderrickent has it that Martin Scorsese’s ‘KILLERS OF THE FLOWER MOON’ got 98% tomatometer on Rotten Tomatoes with 80 reviews.
Based on David Grann’s 2017 best-selling novel Killers of the Flower Moon: The Osage Murders and the Birth of the FBI, Martin Scorsese’s Killers of the Flower Moon is a grim and honest telling of the rapid decline of the Osage people in 1920s Oklahoma. Scorsese’s follow-up to The Irishman operates between the genre lines of a western, true crime story, and murder mystery. Suffice it to say, Killers of the Flower Moon is an enthralling and extensive cinematic experience that will be studied for years to come.
The First World War is over, and ex-infantry soldier Ernest Burkhart (Leonardo DiCaprio) sets his eyes on living and working for his uncle William “Bill” Hale (Robert De Niro) in Fairfax, Oklahoma. It’s here that Ernest meets Mollie Burkhart (Lily Gladstone), an indigenous woman from the Osage tribe. Mollie and her family sit on a pot of incredible wealth connected to oil, just like all the other original Osage families, after her people were forcibly moved to a supposedly uninviting and unwanted piece of land in the state. As luck would have it, the Osage nation would become the wealthiest in America per capita, but with such wealth comes greed and, eventually, death.
Murders of local Native Americans are already a frequent thing when Ernest arrives. However, things turn for the worse when he marries Mollie and gets involved in the shadier side of his uncle’s business. He is encouraged by Bill Hale to marry into Mollie’s family as it’s a so-called good “investment.” Marrying an Osage with oil-rich land would give Ernest a legal claim on the territory and the profits to be made, so he unwillingly sets out for a life with his loving and trusting wife with the ultimate goal of getting rich. Day by day, members of the Osage are knocked off for their land, but the authorities do nothing to assist. It’s only when hundreds are dead and a trip to Washington, D.C. that the federal government is forced to get involved.
When Amazon’s The Boys first premiered, it was lauded as a fresh take on the superhero genre, skewering tropes and corporate motivations in equal measure and pulling no punches with its violence and commentary on the broader state of Hollywood. Based on the comic book series of the same name by Garth Ennis and Darick Robertson, The Boys has now established itself comfortably as a staple of the modern superhero landscape with three seasons currently under its belt and a fourth on the way. This acceptance raises an interesting question for a show that initially positioned itself as an outsider work, and in the eyes of some fans, this is where the franchise has begun to falter, leaning more into its own mythology and offering commentary that feels increasingly obvious and broad.