Directed by:
Martin ScorseseCinematography:
Rodrigo PrietoComposer:
Robbie RobertsonCast:
Leonardo DiCaprio, Robert De Niro, Lily Gladstone, Jesse Plemons, Tantoo Cardinal, John Lithgow, Brendan Fraser, Louis Cancelmi, Tatanka Means (more)VOD (3)
Plots(1)
At the turn of the 20th century, oil brought a fortune to the Osage Nation, who became some of the richest people in the world overnight. The wealth of these Native Americans immediately attracted white interlopers, who manipulated, extorted, and stole as much Osage money as they could before resorting to murder. (Paramount Pictures)
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Reviews (13)
Crushing. It’s good to see in the context of today's times when it appears that no one plays a fair game and those who do are suffering the most. It's not at all enjoyable to watch, in fact it can only be endured because of Scorsese’s masterful work with the actors and his obvious desire to tell an important story. De Niro and DiCaprio are both excellent, and Lily Gladstone is Oscar-worthy. Too bad the people who should see it won't be the ones who will, because they won't be comfortable with the company they'll spend those three and a half hours in, since the main characters are a lazy invalid slacker with a weak will, a naive (though mostly sick) rich wife, and an egomaniac convinced of the righteousness of his actions. The common denominator is, of course, money. Yeah, I like money, almost as much as I like my wife.
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The Osage nation has found oil in their territory and became rich. But where there is money, there are people who want to get their hands on it, and they will be going over dead bodies. Martin Scorsese delivers a dense drama about human envy, anger and cruelty that is not entirely audience-friendly and forces you to spend three and a half hours in the company of repulsive people. Leonardo DiCaprio and Robert De Niro give brilliant performances here, but the slow pace and a narrative that doesn't rush anywhere demand more attention and patience from the audience than usual. Scorsese is uncompromising, so be ready to do your fair share of time with his newest film. And he's certainly not going to make it easy.
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Fargo 1920. It's not riveting, but it's undeniably excellent. It feels like a miniseries accidentally put on in one piece, two and a half hours of taking its time with everything in style, and in the final hour, after a change of style, it's conversely stilted. One of those films that should have either been considerably shorter (and left out entire lines) or, conversely, considerably longer (and fully committed to each).
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During those 206 minutes, I kept wondering who Martin Scorsese makes such long films for in today's fast-paced world. The current generation might be intimidated by the length, and if DiCaprio and De Niro ever lose their star power, it seems he's making these for us — the die-hard film fans of today. And it shows. The film feels like it's crafted by a true cinephile, for cinephiles who savor every meticulous detail. It's true that the first hour and a half felt rather slow, and the plot is quite straightforward, making it hard to get into initially. But then it clicked, and I started to enjoy every expression De Niro and DiCaprio delivered. DiCaprio perfected his dialogue delivery, and both actors brought their characters to life so compellingly in the second half that I was completely engrossed. Despite one being a psychotic maniac and the other a simpleton, neither being particularly likeable, their performances were captivating. The epilogue is the cherry on top of a film that, while undeniably long, proves to be exceptionally good.
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In the plane of view towards the community condemned to destruction, dense, yearning, typically biting and sometimes captivating from the director. In the same striking plane of a family saga from old bad times but weaker in all respects. The characteristic of the central trio is almost clearly defined from the beginning, there is little hidden between the lines, and when the last detail stops being concealed in front of the viewer, it is done. From that moment on, it no longer makes sense to trust specific relationships and therefore the motivation for crucial actions in the final act. So I don't understand even more why this movie lasts for two and a half hours, when all the motives and points could fit into two and I wouldn't lose any meanings or depths. Which brings me to how much Scorsese loves extravagance and formal indulgence. Where there should be a herd, there are several hundred cows, where there should be a crowd scene, there are people from horizon to horizon and so on (especially in the beginning) over and over again. Even DiCaprio is overused this time and the possibilities of his broken expression, although otherwise perfectly functional, are overloaded because the viewer is almost stuffed in front of their eyes with all emotional extremes. I understand the intoxication with the possibilities of cinematography, but unlike the much smarter Irishman, similarly thoughtful and cautiously venomous American memories, I won't spin this disc for the second time.
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