“Killers of the Flower Moon” is one of the year’s most anticipated movies and it’s not hard to see why. It’s the 43rd feature film from the 80-year-old legendary director Martin Scorsese. The movie also marks Scorsese’s sixth big screen collaboration with Leonardo DiCaprio and it’s his tenth collaboration with Robert De Niro.

Equally exciting is the setting and subject matter. “Killers of the Flower Moon” is based on journalist David Grann’s 2017 nonfiction book of the same name. It’s a period crime drama set at the turn of the 20th century that tells the horrifying true story of the Osage Murders. That’s when over sixty (some believe closer to 100) Native Americans were killed in Osage County, Oklahoma between the years of 1918 and 1931. The reasons – oil rights.

Scorsese’s three and a half hour and $200 million feature sees the acclaimed filmmaker in top form. Here he has made an enthralling epic fueled by powerful performances, truly terrific production design, and outstanding cinematography from DP Rodrigo Prieto – a Scorsese regular. Collectively it all works to tell a gripping and heartbreaking story about greed, corruption, and entitlement. Simply put, it’s one of the year’s best films.

Along with his co-writer Eric Roth, Scorsese has crafted an absorbing story of many layers. As the drama builds, those layers are meticulously and gradually peeled back, exposing a vile scheme and the many men who have a part in it. There’s not much mystery to it. Scorsese wants us to know what’s going on pretty quick. The suspense is in watching how far things go and in recoiling at the sickening consequences (and there are many of them).

By 1920 the Osage people had become some of the wealthiest people in America after oil reserves were discovered on their land. Soon they were driving the newest cars, wearing the fanciest clothes, and living in the nicest houses. Yet the Osage weren’t allowed to manage their own money. Based on a belittling premise, the United States government assigned them white “guardians” who turned out to be easily corrupted. Even worse, the steady flow of money drew the attention of opportunists who flooded the area in hopes of getting a piece of the pie.

Among the earliest of the opportunists was William “King” Hale (De Niro), a wealthy cattle baron who worked the political system to gain a foothold in the bustling city of Fairfax. He also slithered his way into the good graces of the Osage landowners and their families. He works them both to line his own pockets and gain even more power in the region. But the true depths of his greed-fueled depravity comes to light with the arrival of his nephew Ernest Burkhart (DiCaprio).

Naive, a bit shallow, and easy to manipulate, Ernest is the perfect pawn for King’s game. He arrives in Fairfax after serving in World War I and is immediately hired by his uncle. Ernest begins as a glorified cabbie, ushering rich Osage to and from town. That’s how he meets Mollie (Lily Gladstone), a wealthy Osage local who catches his eye. Ernest is ok with a little flirting, but King encourages him to court her. Mollie has her reservations, but she’s drawn to Ernest’s gentlemanly charms. Before long the two marry and start a family.

This actually falls right into King’s dirty hands. One of the more sinister schemes of the white interlopers was to marry into the Osage families. If a wife and her fellow heirs were to die, that would leave their land rights, oil, and accompanying wealth to the husband. It’s a devious racket.

We see this wicked plan in action once members of the Osage community begin mysteriously dying at an alarming rate. Many by an unexplainable “wasting disease”. Others are found murdered. Even Mollie’s mother Lizzy (Tantoo Cardinal) and her sister Minnie (Jillian Dion) suddenly fall sick. No one in Fairfax seems concerned and the authorities aren’t interested in investigating. But it’s clear to the audience what’s going on. Scorsese is painting us an unsettling picture of evil operating in plain sight. And their nauseating numbness to their crimes makes them even more monstrous.

The film’s incredible ensemble is such a crucial component. De Niro is at his very best, putting a deceptively pleasant voice to evil and stamping it with a sociopathic smile. DiCaprio is equally good, restraining a character who could have easily veered off track. Jesse Plemons is great as a G-man sent by Hoover to investigate the murders, as is Cara Jade Myers playing Mollie’s wild-child older sister. And there so many other great faces sprinkled throughout (take Ty Mitchell as John Ramsey – rugged, simple, and fascinating to watch and listen to).

Yet most people will leave the film talking about Lily Gladstone and rightly so. She’s just as good as the early hype described. Gladstone masterfully conveys both strength and vulnerability. Her Mollie may be a woman of few words, but she’s purposefully quiet, observant, and wisely skeptical. But there’s a softer side to her – one that’s ready to let her guard down and trust. That’s when Mollie comes face-to-face with her shattering reality. And we can see her spirit slowly being drained from her just by looking into Gladstone’s eyes. It’s a devastating performance

Still, in the end everything comes back to Scorsese who has not only visualized but has fully realized what is a tremendous cinematic achievement (especially in our current movie climate). He has poured great effort into historical and cultural accuracy while never losing sight of what’s essential for good cinema. It may be too long for some, but the movie earns its lengthy running time. And I love his choice to make a feature-length film rather than some fragmented miniseries. I know some have pushed back on his decision to tell the story from Ernest’s perspective. But this is Scorsese’s story to tell. And sometimes looking through the villain’s eyes can be even more enlightening and effective. Especially when done by a master filmmaker.

VERDICT – 5 STARS

Stop me if you’ve heard this before: a camping trip goes south after a group of young friends are terrorized by a deranged killer. It’s a premise that’ll be familiar to any level of horror fan. We’ve seen variations of it for decades. The filmmakers of the new low-budget slasher “Killher” understand that. In fact, director Robyn August and screenwriter Tom Kiesche rely on their audience’s familiarity. What better way to appreciate the fun they’re having with this well-traveled sub-genre.

Unfortunately “Killher” doesn’t have enough in its tank to keep us onboard for the duration. Even at under 90 minutes, the movie runs out of gas well before the finish. It takes well-worn slasher tropes and wrings everything it can out of them. But it’s too strapped for original ideas to fill in the gaps. Even worse, the woeful final act zaps what remains of our goodwill and ends things on a really sour note.

With her wedding day approaching, Mattie (Jenna Z. Alvarez) celebrates by setting out on a camping trip planned and put together by her best friend Eddie (M.C. Huff), a notorious prankster and horror movie enthusiast. Much to Eddie’s chagrin, Mattie invites two of her stuffier friends, Jess (Emily Hall) and Rae (Nicole Lovince), to come along. So the four embark on a supposed fun-filled weekend getaway.

The group drives deep into the forest and sets up camp next to a tent that Eddie claims belongs to (SURPRISE) Mattie’s fiancé, Jagger (Jack Schumacher). But they discover it actually belongs to a burly loner named Ed Rogers (Tom Kiesche). Mr. Rogers tries to keep to himself. But the girls, led by Eddie, are obnoxious to the point that a conflict is inevitable. To make matters worse, cracks begin to form in their “friendships” with each hour they stay in the woods.

Without going into detail, we soon learn there is a killer in the woods (you’ll figure out who it is within the first half-hour). It’s supposed to lead to an entertaining hack’em-up final act but what we get isn’t nearly as fun as it tries to be. In the last 30 minutes the campiness wears off, the characters become dull and tiresome, and the dialogue turns incredibly hokey. Worst of all is the actual killer whose desperate and vain attempts at being maniacal grows more annoying by the minute.

I don’t want to come down too hard on “Killher” as it can only do so much within its noticeable budget constraints. And I’ll go as far as to say that August deserves a lot of credit for delivering beyond the limitations he faces, specifically in the film’s first half.

But once we hit the midway point things unravel pretty fast. By sloppily telegraphing the killer’s identity we’re left with no tension whatsoever. And the killer’s grating over-the-top performance helps turn the movie into an endurance test rather than the fun-filled genre romp that it could have been. And sadly no amount of cool practical effects or gnarly makeup can make up for the second half frustrations which end up burying this well-intended misfire. “Killher” opens October 20th in select theaters and on VOD.

VERDICT – 2 STARS