“Killers of the Flower Moon” is not short, nor should it be. At 3 hours, 26 minutes, it casts a spell, dark and mournful but alive. It may look like a certain kind of movie epic, especially as the trailers market it. But director/co-screenwriter Martin Scorsese’s cinematic lament for the Osage Nation during the oil boom in Oklahoma a century ago — when dozens of wealthy Osage were being murdered before the newly created FBI took an interest — relies on quiet, tense exchanges behind closed doors.
Once upon a time in America, most movies of a certain duration, especially in their “road show” extra-long big city engagements at higher prices, embraced the intermission concept from the get-go. Filmmakers wanted all the bells and whistles: the overture; the intermission with intermission music; the entr’acte music; the exit music. It was an event. Films of the requisite length and sweep didn’t necessarily build up to the intermission break with a huge action sequence.
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