When oil is discovered in 1920s Oklahoma under Osage Nation land, the Osage people are murdered one by one—until the FBI steps in to unravel the mystery.

Credits: TheMovieDb.

Film Cast:

• Ernest Burkhart: Leonardo DiCaprio
• William Hale: Robert De Niro
• Mollie Burkhart: Lily Gladstone
• Tom White: Jesse Plemons
• Lizzie Q: Tantoo Cardinal
• Prosecutor Peter Leaward: John Lithgow
• W.S. Hamilton: Brendan Fraser
• Anna: Cara Jade Myers
• Rita: JaNae Collins
• Minnie: Jillian Dion
• Henry Roan: William Belleau
• Kelsie Morrison: Louis Cancelmi
• John Wren: Tatanka Means
• Agent Frank Smith: Michael Abbott Jr.
• Agent John Burger: Pat Healy
• Bryan Burkhart: Scott Shepherd
• Bill Smith: Jason Isbell
• Henry Grammer: Sturgill Simpson
• Radio Show Actor: Jack White
• William J. Burns: Gary Basaraba
• Horace Burkhart: Joshua Close
• Undertaker Turton: Barry Corbin
• Judge Pollock: Steve Eastin
• Myrtle ‘Myrtie’ Hale: Katherine Willis

Film Crew:

• Screenplay: Eric Roth
• Director of Photography: Rodrigo Prieto
• Producer: Martin Scorsese
• Casting: Ellen Lewis
• Editor: Thelma Schoonmaker
• Producer: Daniel Lupi
• Production Design: Jack Fisk
• Executive Producer: Leonardo DiCaprio
• Producer: Bradley Thomas
• Art Direction: Michael Diner
• Makeup Artist: Nacoma Whobrey
• Executive Producer: Rick Yorn
• Foley Artist: Marko Costanzo
• Original Music Composer: Robbie Robertson
• ADR Mixer: Mark DeSimone
• Stunt Coordinator: Stephen A. Pope
• Stunts: Jim Henry
• Costume Designer: Jacqueline West
• Casting: Rene Haynes
• Set Decoration: Adam Willis
• Boom Operator: Douglas Shamburger
• Foley Mixer: George A. Lara
• Second Unit Director: G. A. Aguilar
• Makeup Artist: Gloria Belz
• First Assistant Director: Adam Somner
• Stunt Coordinator: Richard Bucher
• Stunts: Darrell Davis
• Hairstylist: Anna Majewski
• Researcher: Marianne Bower
• Makeup Department Head: Thomas Nellen
• Set Decoration Buyer: Andrew W. Bofinger
• Costume Supervisor: Cheryl Beasley Blackwell
• Art Direction: Jordan Crockett
• Hairstylist: Jerry Popolis
• Supervising Sound Editor: Philip Stockton
• Set Designer: Sarah Forrest
• Supervising Art Director: Matthew Gatlin
• Visual Effects Supervisor: Pablo Helman
• Sound Re-Recording Mixer: Tom Fleischman
• Makeup Artist: Martina Kohl
• Set Designer: Brian A. Waits
• Stunt Driver: Regis Harrington
• Makeup Artist: Carla White
• Makeup Artist: Anita Brabec
• Set Designer: Ron Mason
• Makeup Artist: Roxy D’Alonzo
• Stunts: Ashley Nicole Hudson
• ADR Mixer: Brian Magrum
• Novel: David Grann
• Makeup Artist: Linda Boykin-Williams
• Digital Intermediate Colorist: Yvan Lucas
• ADR Mixer: Michael Miller
• Foley Editor: Steven Visscher
• Production Sound Mixer: Mark Ulano
• ADR Mixer: Justine Baker
• Stunts: Josh Lakatos
• Hairstylist: Candace Orlandi
• Stunts: Kc Coy
• Makeup Artist: Lindsay Garrison
• Special Effects Coordinator: Brandon K. McLaughlin
• Executive Producer: Niels Juul
• Stunt Double: Chad Knorr
• Stunts: Aaron Matthews
• Stunt Driver: Richard Burden
• Executive Producer: Shea Kammer
• Key Makeup Artist: Beate Petruccelli
• Set Decoration Buyer: Dani Broom-Peltz
• Makeup Artist: Sandy Jo Johnston
• Producer: Dan Friedkin
• Second Second Assistant Director: Dominic Pacitti
• Hairstylist: Heather Hawkins
• Stunts: Josh Vinyard
• Stunts: Dawson Towery
• Second Assistant Director: Jeremy Marks
• Art Direction: Landon Lott
• Hairstylist: Jennifer Jane
• Makeup Artist: Toni Marlo
• Set Decoration Buyer: Javed Noorullah
• Set Costumer: Alyssa Blair Cawthon
• Hairstylist: J.C. Davis
• Stunt Double: Kent Shelton
• Hairstylist: Jon Carter
• Assistant Art Director: Gary McMonnies
• Hairstylist: Zoey Belton
• ADR Mixer: Colin Rogers
• Stunts: Jon Bielich
• Dailies Operator: Jack Tashdjian
• Dailies Technician: Tom Klane
• Set Dresser: Victor Pongonis
• Hairstylist: Bobbie Payne
• Set Production Assistant: David Croley Broyles
• Stand In: Aaron J. Brooks
• Set Designer: Bryan Lane
• Set Costumer: Gilbert Montes
• Co-Producer: Justine Conte
• Production Assistant: Lisandro Boccacci
• Stunts: Ryker Sixkiller
• Special Effects Makeup Artist: Hiro Yada
• Sound Assistant: Alonso Velasco
• Hairstylist: Drea Carreno
• Makeup Artist: Elizabeth Bey
• Hairstylist: Charmaine Balcerzak
• Stunts: Pamela Banks
• Set Dresser: Shane Ballou
• ADR Mixer: Ja-Ann Wang
• Lighting Technician: Ronnie Johnson
• Makeup Artist: Lia Robin
• Makeup Artist: Heather Benson
• Dialogue Editor: Julia Stockton
• Makeup Artist: Teresa Luz
• Set Costumer: Carolina Hernandez
• ADR Recordist: Elliott Elsey
• Costume Supervisor: Gina Javaheri
• Stand In: Alex Atkinson
• ADR Recordist: Jennie Shea
• Dailies Technician: Keyhan Bayegan
• Hairstylist: Anna Williams
• Special Effects Technician: Jeremy Ralstin
• Executive Producer: Lisa Frechette
• Executive Producer: John Atwood

Movie Reviews:

• Lachlan Thiele: INT. GANGSTERS IN OKLAHOMA – DAY

  Film students, film lovers, cinema-goers, and reviewers rejoice! Martin Scorsese’s latest film is excellent! The Irishman might have been his last ‘gangster’ film. Still, the apple doesn’t fall far from the tree, Killers of the Flower Moon might not be a gangster film, but there are many ‘mob’ elements within it.

  The biggest fear people had going into this film was the runtime. Weeks before the release, speculations came out about the length of this film. I saw an article stating it would be 4 hours long! Alas, it’s only 206 minutes long, not even coming close to the longest film here at Cannes. I can confirm that the film never drags its feet for too long; there are times when it slows down, but this is only during the film’s opening hour. Thankfully it quickly picks up the pace and goes by fast once the whole ensemble is introduced. Jesse Plemons is a late bloomer in the film, only being introduced 2 hours in; as I said, this is where the film starts moving.

  The story is simple: During the 1920s, oil was discovered on Osage Nation Land. Turning them into the richest people per capita in the world! Ernest Burkhart (Leonardo DiCaprio) returns to work for his uncle, William Hale (Robert De Niro). Ernest meets Mollie (Lily Gladstone), and they marry. However, slowly many of Mollie’s friends and family are murdered, with those who married into the family taking ownership of the land—eventually, the FBI steps in to investigate.

  Lily and Leo have excellent on-screen chemistry, with Lily performing phenomenally. I hear talks about the Oscars for her, which is entirely valid. De Niro steals many of the scenes he’s in, often providing the most laughs. He is ultimately the most ‘mob-like character within the film, never pulling the trigger but commanding the troops. Jesse Plemons is the final major character within the story as Tom White. Unfortunately, Plemon’s isn’t that interesting; I wonder if Plemons wasn’t given much direction or if he decided to make the character this way. Still, White moves from scene to scene without much interest. He’s just there, leading the FBI but never being an individual; I didn’t remember his name after the film; I just referred to him as ‘FBI guy.’

  Technically, Killers of the Flower Moon is a marvel (Not that Scorsese would like me saying the word ‘Marvel’), but just like all of his films, everything is great. Nothing stands out as ‘excellent’; the score, editing and cinematography are at the level you’d expect from the mind of Scorsese.

  This leads me to my final thoughts on the film; recently, Martin has been talking about his age and his ability to make films like he used to. Scorsese is 80 years old and doesn’t believe he has the same drive as Ridley Scott. Suppose this is to be his final film. In that case, I’d be happy knowing it’s not a significant departure from what made him the famed director but a story worth telling from a creator who will continue to be studied and praised for the next many decades.

  FADE OUT.