Tag Archives: Killers of the Flower Moon

Apple TV, Reviews

Apple TV+ Film Reviews – Part Two

Leave a comment

Apple TV+ Film Reviews – Part Two

As is standard procedure when one creates a part one of a series, the logical and linear progression is to have a part two. So, having watched the majority of the AppleTV+ films currently streaming I now move onto part two. The first set of reviews can be found here:

AppleTV+ Film Reviews – Part One

Coda (2021)

For some unknown alphabetical amnesia I forgot to include this Oscar -winning film in the first set of reviews, so I rectify that omission now. Arguably one of the best films on the platform, it is simultaneously a feelgood, tearjerker and a Save-the-Cat-screenplay-template-box-ticker hitting wholly familiar beats and a well-trodden genre path. Nonetheless, it is a terrifically entertaining, moving, funny and heart-warming story which, on reflection kind of surprisingly won the Academy Award for best film. I personally think another remake West Side Story (2021) was a far more scintillating work of cinema, but hey what do I know? My original review of Coda (2021) can be found below. Mark: 9 out of 11.

APPLE TV FILM REVIEW: CODA (2021)

Ghosted (2023)

Of late Chris Evans has been choosing roles, as with Red One (2024), that go against the Alpha-heroic persona of Captain America. Unfortunately, Knives Out (2019) aside, the results are average at best. Aside from a series of amusing cameos in the middle act, not even the alluring Ana De Armas can save this clunky AI-written-spy-romance. With better scripting and direction this attractive action fluff could’ve been almost bearable. I remember when Dexter Fletcher made really good low-budget indie films like Wild Bill (2011). Mark: 5 out of 11.

The Gorge (2025)

I really enjoyed this big-budget-romantic-monster shoot-em up. I need to watch it again sober before deciding if it is going to make my top films of the year list or did I love it because I was drunk. Miles Teller and Anya Taylor-Joy revel in fine on-screen chemistry as the physical and symbolic divide provides no barrier to their lustful wants. My full review can be found below. Mark: 8.5 out of 11.

Apple TV+ Film Review: The Gorge (2025) – an exciting sci-fi shoot-em-up with a nuclear-powered romance!

The Greatest Beer Run Ever (2022)

Likeable every-guy, Chickie Donohue (Zac Efron), has the crazy notion of hand delivering beer to his buddies fighting in Vietnam. But his naïve morale-boosting trip soon becomes an eye-opening and perspective changing nightmare. There’s a really good dramatic character arc in this historical 1968-set “road” movie but the comedic tone dilutes the overall catharsis of the journey. Efron is full of energy while the formidable presence of Russell Crowe is memorable if woefully under-used. Mark: 7 out of 11.

Greyhound (2020)

A fast-paced and technically impressive WW2 film with Tom Hanks portraying the Commander of a destroyer battling to survive an enemy onslaught amidst a part of the sea called ‘the Black Pit’. It’s been a while since I watched this but recall it being a solid suspense thriller with great production design and effects, although a little light on meaty character development. Mark: 7 out of 11.

The Instigators (2024)

Matt Damon and Casey Affleck team up once again for this underdog heist film which tries to be funny and dramatic, but misses the nuanced tone a director like Steven Soderbergh can deliver. I kind of enjoyed this because I like Damon, Affleck and Hong Chau, but many scenes suffer from the sense the actors are “improvising” and rewriting the script as they go along. Also, why can’t we have some proper 1970’s hard-boiled crime films like Sam Peckinpah and David Mamet used to deliver. Not all robbery films have to have one-liners throughout. Mark: 6 out of 11.

Killers of the Flower Moon (2023)

My critical feelings of Martin Scorsese’s most recent epic did not shift on the second watch. This profile of the horrors that befall the Osage people after they have struck oil remains compelling. Indeed the film contains powerful themes relating to the greed, power and psychopathy of the white man, but focusing the main thrust of the narrative from their perspective creates a skewed and oddly unimpactful viewing experience. Of course, Scorsese’s filmmaking expertise shines through and the performances are terrific. Mark: 8 out of 11. My full review is here:

CINEMA REVIEW: KILLERS OF THE FLOWER MOON (2023)

Luck (2022)

I felt more than a tad unlucky after watching this animated misfire which didn’t work on any level. I know hundreds of crafts-people worked hard creating this, but why not spend a bit more time on the script. Or film another script altogether. The fact that the budget for this film is reported to be $140 million and there are people starving in the world is a travesty against humanity. Mark: 3 out off 11.

Napoleon (2023)

I haven’t had the spiritual gumption to re-watch this messy biopic from Joaquin Phoenix and Ridley Scott. There’s a four-hour directorial version to contemplate watching too. Oh, if only Stanley Kubrick had made his version. My original review is below. Mark: 7 out of 11

CINEMA REVIEW: NAPOLEON (2023)

Palmer (2021)

Justin Timberlake again proves himself an adept leading man, having successfully graduated from the Disney-groomed production line he started out on. Palmer (2021) is overall a well-acted and directed redemptive crime drama, which also tackles themes relating to gender nonconformity to differentiate the well worn “parolee-trying-to-go-straight” narrative. Mark: 7 out of 11.


Sharper (2023)

Sharper (2023), directed by Benjamin Caron, skillfully uses classic con artist film tropes to craft a layered and compelling drama. By blending familiar elements of the genre with sleek cinematography and a nonlinear narrative, the film elevates itself above typical heist fare and leans into character-driven storytelling. The terrific cast, notably Julianne Moore, have fun with a genre script containing emotional depth, deliberate pacing, and decent characterisation. Mark: 7.5 out of 11.

Tetris (2023)

Tetris (2023), directed by Jon S. Baird, turns the unlikely origin story of a video game into a surprisingly engaging Cold War-era techno-thriller—at least for a while. Rooted in real historical tensions, the film smartly weaves espionage, corporate greed, and political paranoia into the story of how a simple puzzle game became a global phenomenon. However, its descent into exaggerated action sequences, particularly the climactic chase, turns it into something closer to parody than period drama. It’s a film that ultimately undercuts the suspense by choosing spectacle over substance. Mark: 7 out of 11

Apple TV, Reviews

Apple TV+ Film Reviews – Part One

1 Comment

Apple TV+ Film Reviews – Part One

Apple TV+ has had an interesting trajectory since it launched in November 2019. While it entered an already crowded streaming landscape, it quickly distinguished itself—particularly with its high-quality original series, even as its film offerings have been a bit more inconsistent.

Apple TV+ has rightly earned a reputation for premium TV content, often described as “curated” and “prestige-focused.” Some standout series include: Ted Lasso, Slow Horses, Pachinko, Severance, The Morning Show, Bad Sisters, Dickinson, and many, many more. These shows share a few key traits: strong writing, high production values, and a willingness to take creative risks. Apple’s deep pockets have allowed them to secure A-list talent and give creators the freedom to execute ambitious visions.

When it comes to films, Apple TV+ has seen a less consistent track record. While the platform has had some critical hits, the overall output hasn’t matched the buzz or consistency of its series. Over the last year or so I have watched the majority of the films they have produced and have now consolidated them in a series of short reviews for your consideration. Marks out of 11 and links to the longer reviews where applicable.

A Charlie Brown Thanksgiving (1973)

A trip down memory lane watching this classic short focusing on the quirky adventures of hapless Charlie Brown, his friends and of course, Snoopy. Simple, but effective animation, and wonderfully mellow soundtrack make this a memorable comfort watch. Mark: 8 out 11

Argylle (2024)

Matthew Vaughn’s directorial career started really strongly and he soon carved out an excellent C.V. consisting of some fantastically entertaining genre films. But this tonally chaotic spy comedy-actioner is so laughably awful I actually thought I was watching an Airplane-style parody. The mildly-meta screenplay offers the occasional spark and Sam Rockwell is great as always. Mark: 4 out of 11


The Banker (2020)

Absorbing drama based-on-the-true-story of two entrepreneurs, portrayed brilliantly by Anthony Mackie and Samuel L. Jackson, who expertly circumnavigate the racism of 1950s while starting a successful real estate business. Nicholas Hoult also excels as the eager front man they employ to be the face of their business. Mark: 8 out of 11

Blitz (2024)

“. . . Blitz (2024) is McQueen’s beautifully filmed and noble testament to the strength and resilience of the human spirit during wartime.” Read the full review here. Mark: 8 out of 11.

Bread and Roses (2023)

A gut-wrenching documentary about the female activists protesting the oppressive decision to deny them the rights to education past sixth grade, work, and walking unaccompanied in public following the Taliban’s takeover of Afghanistan. One of those humanist documentaries that leaves you feeling depressed and powerless at the injustice of such grave socio-political events. The women at the heart of the film show incredible bravery in the face of threats, violence and ultimately murder. A compelling yet almost impossibly sad watch. Mark: 9.5 out of 11

Causeway (2022)

Character drama centring on themes relating to PTSD and grief, presents fine acting performances from Jennifer Lawrence and the fantastic Brian Tyree Henry. Compelling indie vibes bubble along without ever coming to a serious boil. Lawrence’s company co-produced this film and Bread and Roses (2023), before undoing a lot of the good work with the weirdly well-reviewed but pretty dire, fake-naked comedy, No Hard Feelings (2023). Mark: 7 out of 11.

Cherry (2021)

The Russo brothers certainly know how to deliver an entertaining and homogenous Marvel blockbuster, but this Tom Holland PTSD-burnout crime drama is over-directed, over-long and overall a painful misfire. Mark: 5 out of 11.

Emancipation (2022)

A very solid period drama with Will Smith as an escaped slave, Peter, who battles against the odds to find freedom. Covers much of the same ground as other better emancipation and war films, but Antoine Fuqua delivers stirring genre cinema with Ben Foster, once again, stealing scenes as a vicious slave hunter. Good story although the civil war fighting came too late in the final act structure for me. Mark: 7 out of 11.

The Family Plan (2023)

The normalization in Hollywood of the government assassin theme dominates this entertaining garbage with Mark Wahlberg as a suburban family guy with a hidden secret. Some okay gags and shoot-out action amongst the AI-created plot that’s based on about twenty different way better movies. Mark: 5.5 out of 11.

Finch (2021)

Tom Hanks stars as the eponymous Finch, in this stylish “last-man-on-Earth” apocalyptic drama. I loved the design and look of this film but dramatically it unfortunately it’s not as roasted as the radiated Earth it’s set on. Echoes of Castaway (2000) meets Silent Running (1972) but Hanks just doesn’t let rip as he did on the desert island or as much as the pulsating Bruce Dern did. So, Finch (2021) is mostly too sombre and understated for me to recommend wholeheartedly. Mark: 6.5 out of 11.

Fly me to the Moon (2024)

There’s a really good historical drama, a really good romantic comedy, a really good sci-fi-conspiracy thriller and really good satire in Fly me to the Moon (2024), however, such genres overlap and suffocate each other ultimately during the running time. Channing Tatum and Scarlett Johannson add shine and depth to their characters, yet the tonal shifts from serious space race drama to camp fake moon landing and filmmaking gags stop the film from really soaring into orbit. Still, there’s a lot to enjoy about this beautifully rendered and pacy late-60s era production. Mark: 7.5 out of 11.

Articles, Cinema, New Releases, Reviews

CINEMA REVIEW: KILLERS OF THE FLOWER MOON (2023)

4 Comments

CINEMA REVIEW: KILLERS OF THE FLOWER MOON (2023)

Directed by: Martin Scorsese

Screenplay by: Eric Roth and Martin Scorsese

Based on: Killers of the Flower Moon by David Grann

Produced by: Dan Friedkin, Bradley Thomas, Martin Scorsese and Daniel Lupi

Main cast: Leonardo DiCaprio, Robert De Niro, Lily Gladstone, Jesse Plemons, John Lithgow, Tantoo Cardinal, Scott Shephard, etc.

Cinematography: Rodrigo Prieto

Edited by: Thelma Schoonmaker

*** MAY CONTAIN SPOILERS ***

Who can tell how the world and society as we know it would’ve evolved if Christopher Columbus, the explorer credited with finding the Americas in 1492, had not landed and begun the first steps toward colonising this uncharted part of Earth. Of course, there were existing natives in the Americas and over time they would experience first contact with Spanish, Portuguese, British and other European, predominantly white, settlers. It may be that the natives would have had equally difficult experiences, and colonists brought with them many positive things. But one has to surmise they would not have had their land and lives gradually taken from them over the centuries without the European invasion.

The violent theft of land and wealth from Native Americans forms the bedrock of the narrative of Martin Scorsese’s latest epic drama, Killers of the Flower Moon (2023). Adapted from David Grann’s critically acclaimed nonfiction book, the film centres on the series of murders of wealthy Osage people that occurred in Oklahoma in the early 1920s. The motive for the heinous culling was the greed of white men. Such individuals lusted after the richness present after big oil deposits were discovered beneath the Osage people’s land. Whereas Grann’s book is a monumental study of the murders, perpetrators, the Osage culture, politics of the era, and how the newly formed FBI delved into the crimes, Scorsese’s incredibly slow and long adaptation does all that, while also exploring the romance and murderous treachery between Osage native, Mollie (Lily Gladstone) and war veteran, Ernest Burkhart (Leonardo DiCaprio).

Opening by establishing how the oil erupted and blackened the green land, the film then firmly sets up how the American businessmen used the legality of the headright system to manipulate the flow of sudden wealth that came to the Osage people. One such man is William King Hale (Robert DeNiro) who presents himself as a benefactor to the Osage, but truly speaks with a forked tongue. Having left the infantry unit after World War One, Hale’s nephew Ernest joins him to work and ultimately do his bidding. Hale cajoles Ernest to romance wealthy Mollie and get further feet under the table and closer to that beloved black gold money. Yet, enough is never enough for the likes of Hale and driven by another formidable Scorsese directed performance, De Niro delivers a deviously evil characterisation.

DiCaprio here takes the less charismatic role as the doltish Ernest. As Hale urges him to do further misdeeds the banality of everyday evil is palpable in Ernest’s actions. Along with a litany of professional and thuggish cowboy types Ernest and Hale’s other minions wreak havoc on the Osage people, committing arson, murder, poisonings, robbery, and shootings. All just for more money. The tragedy is that Ernest clearly has feelings for Mollie, serenely portrayed by a revelatory Lily Gladstone, but he just cannot stand up for himself against his wicked uncle. So much so that I just wondered why the hefty runtime was concentrating on Ernest’s character. I mean, Scorsese and DiCaprio give us little in the way of anti-heroism to bounce off, or even some cathartic sense of redemption. Ernest starts out as a loser and finished the story the same. Over three hours spent with a gurning idiot left me frustrated.

Directed, as one would expect with a masterful hand, mind and eye by Scorsese, who once again surrounds himself with an incredibly talented cast and production crew. Not to forget the unbelievable $200 million budget. But Scorsese’s movement of late to ultra-long and methodical cinema is an artistic choice that requires much patience. While Killers of the Flower Moon (2023 is thematically very powerful, beautifully filmed, and contains a number of exceptionally impressive sequences, there was genuinely not enough story to justify such a long running time. Whereas The Irishman (2019) was slow, it was methodically thrilling and absorbing throughout. Killers of the Flower Moon (2023) on the other hand becomes repetitive in its reveals of greedy Cowboys breaking bad and raising hell to the cost of the Osage. The introduction of the FBI and their subsequent investigation comes way too late to save the over-bloated length and pace. However, there is no doubt, the film remains vital in highlighting the historial horror perpetrated upon the Osage land and people. Perhaps Apple TV should have just given the money to the Osage descendants as reparation?

Mark: 8 out of 11