KILLERS OF THE FLOWER MOON Sometimes it feels like Martin Scorsese is waging a one-man campaign to compensate for American cinema’s capitulation to the forces of Marvel and Mattel. Killers Of The Flower Moon is his latest three-hour-plus epic and as heartfelt, beautiful and brutal as the films with which he made his name. But in a way it’s one more excursion into the Martin Scorsese extended universe, his long investigation into the origins of American violence.
This time the setting is Osage County, a godforsaken corner of Oklahoma, where the discovery of oil in the early 20th century made the Osage Native Americans the richest people per capita on earth. This doesn’t sit well with their white neighbours, who under the charismatic leadership of cattle rancher William “King” Hale (a magnificently malign De Niro, sporting devilish driving goggles) begin a systematic campaign of
