Based on David Grann’s non-fiction book about series of mysterious deaths among the Osage Native American tribe in 1920s Oklahoma, Martin Scorsese’s new three-and-a-half hour movie is currently in the middle of a brief cinema run before showing on Paramount + (who also co-financed alongside Apple TV).

A new Scorsese movie is always an event. Co-starring Leonard DiCaprio, Robert De Niro and Lily Gladstone, ‘Killers Of The Flower Moon’ is another epic ‘creation of modern America’ movie, the flipside of ‘Goodfellas’, ‘Casino’, ‘The Irishman’, ‘Once Upon A Time In America’ and ‘The Godfather’, whilst also nodding to the oil boom of the 1920s and development of the FBI (‘Killers’ was reportedly reformatted during the Covid era to focus less on the FBI and more on the Osage).

The first thing to address is the giant running time. It’s quite extraordinary – and sometimes quite a challenge – watching a three-and-a-half-hour movie in 2023. And if, at times, it feels very much like an elongated TV show, its huge budget is all up there on the screen, with peerless attention to detail, meticulous mise en scene and truly hefty star performances.

You’re in the hands of a master, though Scorsese fans wanting elaborate camera movements and zippy set pieces will be disappointed – this is a sober, slow film, gaining its power from an accumulation of moods and images.

But ‘Killers’ is a true story of such simple, unremitting horror that you may also question why you are sitting so passively watching an exceptionally unpleasant, shameful episode in American history – all very apt in a long, non-fiction book or article, less so in a feature film of such extreme length.

One generally wants to look away from the casual, regular violence, unpleasantly forensic detail and focus on sometimes passive, unwell women. There’s exposure of intense anxiety and physical threat to child actors. There are also many longeurs, often undercut by Robbie Robertson’s pretty much wall-to-wall music (influenced by Kubrick’s ‘Barry Lyndon’ and ‘The Shining’?) with occasional Daniel Lanois-esque ‘funky’ breakdowns and slightly disconcerting inserts of blues and bluegrass.

But it’s the performances that linger longest in the mind after viewing. It’s thrilling watching intimate ‘behaviour’, as per Scorsese’s assessment of Marlon Brando in ‘On The Waterfront’, played out in the midst of such an epic, sprawling movie.

There are two key De Niro/DiCaprio stand-offs – it’s an absolute treat to see these two actors sparring on the big screen at such close quarters (and remember De Niro gave Leo his first big break in ‘This Boy’s Life’).

For his part, DiCaprio channels Brando, jutting out his bottom jaw, desperate to dial down the joie de vivre, excellently portraying a weak man who just wants to be left alone to enjoy money and gambling but is drawn into evil deeds. De Niro, in the meantime, seems to channel Trump. Gladstone burns very brightly during the first hour of the picture but fades fast, through no fault of her own, despite regrouping for a powerful final scene with DiCaprio.

There are shades of ‘Goodfellas’ and ‘The King Of Comedy’ in the film’s finale which summarises the hideous plot via a trite, ‘comic’ supper-theatre show, enjoyed by a middle-class audience and featuring a weird, uncharacteristically emotional cameo from the director.

So ‘Killers’ is not exactly Marty’s ‘Heaven’s Gate’ but a disappointment after ‘The Irishman’. Movingtheriver would put it alongside ‘Gangs Of New York’, ‘The Aviator’ and a few others in the ‘heroic failures’ camp. But is it worth seeing on the big screen? Of course. And Scorsese turns 81 on 17 November.