New Film on Historical Native American Murders Reflects Universal Themes, Says Scorsese 

(L-R) Osage Nation Princess Gianna "Gigi" Sieke, Osage Nation Princess Lawren "Lulu" Goodfox, Chad Renfro, Scott George, Julie O'Keefe, Brandy Lemon, film director Martin Scorsese, Osage Nation Principal Chief Geoffrey Standing Bear, Julie Standing Bear, Christopher Cote, and Addie Roanhorse attend the premiere of Apple Original Films' "Killers of the Flower Moon" at Alice Tully Hall at Lincoln Center in New York on September 27, 2023. (AFP)
(L-R) Osage Nation Princess Gianna "Gigi" Sieke, Osage Nation Princess Lawren "Lulu" Goodfox, Chad Renfro, Scott George, Julie O'Keefe, Brandy Lemon, film director Martin Scorsese, Osage Nation Principal Chief Geoffrey Standing Bear, Julie Standing Bear, Christopher Cote, and Addie Roanhorse attend the premiere of Apple Original Films' "Killers of the Flower Moon" at Alice Tully Hall at Lincoln Center in New York on September 27, 2023. (AFP)
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New Film on Historical Native American Murders Reflects Universal Themes, Says Scorsese 

(L-R) Osage Nation Princess Gianna "Gigi" Sieke, Osage Nation Princess Lawren "Lulu" Goodfox, Chad Renfro, Scott George, Julie O'Keefe, Brandy Lemon, film director Martin Scorsese, Osage Nation Principal Chief Geoffrey Standing Bear, Julie Standing Bear, Christopher Cote, and Addie Roanhorse attend the premiere of Apple Original Films' "Killers of the Flower Moon" at Alice Tully Hall at Lincoln Center in New York on September 27, 2023. (AFP)
(L-R) Osage Nation Princess Gianna "Gigi" Sieke, Osage Nation Princess Lawren "Lulu" Goodfox, Chad Renfro, Scott George, Julie O'Keefe, Brandy Lemon, film director Martin Scorsese, Osage Nation Principal Chief Geoffrey Standing Bear, Julie Standing Bear, Christopher Cote, and Addie Roanhorse attend the premiere of Apple Original Films' "Killers of the Flower Moon" at Alice Tully Hall at Lincoln Center in New York on September 27, 2023. (AFP)

Martin Scorsese, best known for his action-packed thrillers and gangster epics, now depicts an investigation into the murders of Native Americans in his latest film, "Killers of the Flower Moon", which previewed in New York on Wednesday.

Adapted from a nonfiction book of the same name, "Killers of the Flower Moon" tells the true story of the 1920s murders and disappearances of members of Osage Nation on oil-rich lands in the central US state of Oklahoma.

At a red carpet event at Manhattan's Lincoln Center, Scorsese told AFP his film about the 100-year-old crimes touched on broad themes.

"It's about a clash of cultures, misunderstanding each other, the sense of entitlement -- and it could be (about) not only Americans," Scorsese told AFP about the film, which he shot on Oklahoma's prairies with around 40 Osage Native Americans included in the cast.

The $200-million film stars Leonardo DiCaprio as Ernest Burkhart, a man in love with a Native American woman (played by Lily Gladstone) who finds himself embroiled in a plot hatched by oil-hungry cattle magnate William Hale, played by Robert De Niro. An FBI agent, Jesse Plemons, is assigned to solve the murders.

"Killers of the Flower Moon" will be released in North American cinemas on October 20, before being made available on Apple TV+.

The violence and crimes depicted in the film "could be in any part of the world," Scorsese said. "It just so happens to be a story that actually reflects through the millennia."

"It's good to tell this kind of story now because people are trying to shy away from this stuff. Show it, talk about it," the "Gangs of New York" and "Taxi Driver" director added.

American writer David Grann, whose book the film was based on, told AFP that the story covers "one of the most monstrous crimes and racial injustices committed by white settlers against Native Americans for their oil money."

"What it is fundamentally about is what happens when greed is fused together with the dehumanization of other people," the New Yorker journalist said. "And what that led to were these genocidal crimes."

Grann believes that the history of the Osage Tribe, and of many Native Americans across the United States, has been "largely erased from our conscious".

"It was not taught in any of my schoolbooks. I never learned about it," he said.

In 2021, President Joe Biden became the first US president to issue a proclamation for Indigenous Peoples' Day, which coincides with the increasingly controversial national holiday celebrating explorer Christopher Columbus.

Principal Chief of the Osage Nation Geoffrey Standing Bear also appeared at the red carpet event.

"It's not just the Osage people -- all of the Native peoples have had their hard times for 500 years," the North American leader said. "And this movie shows us it still goes on.

"It wasn't that long ago. It was my grandparents' generation when this movie, the facts in it, occurred."



Movie Review: Bring Your Global Entry Card — ‘Beetlejuice’ Sequel’s a Soul Train Ride to Comedy Joy 

US actor Michael Keaton arrives for the UK premiere of "Beetlejuice Beetlejuice" at the Cineworld Leicester Square in London, Britain, 29 August 2024. (EPA)
US actor Michael Keaton arrives for the UK premiere of "Beetlejuice Beetlejuice" at the Cineworld Leicester Square in London, Britain, 29 August 2024. (EPA)
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Movie Review: Bring Your Global Entry Card — ‘Beetlejuice’ Sequel’s a Soul Train Ride to Comedy Joy 

US actor Michael Keaton arrives for the UK premiere of "Beetlejuice Beetlejuice" at the Cineworld Leicester Square in London, Britain, 29 August 2024. (EPA)
US actor Michael Keaton arrives for the UK premiere of "Beetlejuice Beetlejuice" at the Cineworld Leicester Square in London, Britain, 29 August 2024. (EPA)

“I have global entry!”

Now, does that sound like a funny line? Of course it doesn’t. Whatever in the history of mankind and airport lines could be funny about global entry?

But put it in the mouth of comedy goddess Catherine O’Hara, and place it in the singularly inventive world of Tim Burton and that wacky afterlife waiting room from “Beetlejuice,” and it may become the one blessed time in your life you'll ever guffaw about global entry.

It likely won't be the only thing you'll guffaw about. Burton is back — and, more significantly, he is BACK — with “Beetlejuice Beetlejuice,” 36 years after the original. And for once, the question “Why a sequel?” is moot.

Not because we know the answer. (Do we?) But, who cares? It’s funny. It may even make you feel better about, well, death, though not “death death.” And Michael Keaton somehow looks exactly the same as he did in 1988 (to be fair, it helps that his character was already dead.)

Returning to his tale of Keaton's ghostly, fiendish “bio-exorcist,” director Burton brings back much of the team behind the original, including, alongside O’Hara and Keaton, the still-lovely Winona Ryder as Lydia the Goth Girl (also, Bob the shrunken-head guy).

And we've gained Justin Theroux, Monica Bellucci, Willem Dafoe, and for the younger generation, Jenna Ortega, who, as a relatively normal figure, serves as an appealing anchor, her story moving the plot along.

Speaking of plot: if you didn’t see the original, not to worry. It all gets explained (as much as it should be) in time. We begin in Winter River, Connecticut, still home to Lydia Deetz (Ryder), who came as a teenager with batty stepmom Delia and dad Charles, only to learn her new house was haunted by the recently deceased Adam and Barbara (Alec Baldwin and Geena Davis, alas not back).

Lydia looks much the same — dressed all in black, with spiky bangs and pale skin — but is now a widowed mother, a psychic mediator, and host of a cheesy reality show, “Ghost House,” in which she sees ghosts and asks, “Can the living and the dead co-exist?”

But one day she sees something in the audience that scares her: visions of Beetlejuice, who wrought havoc when she was a teen and who, when we last left him, was wasting away in the afterlife waiting room (apparently, HE did not have global entry.)

Waiting just off set to comfort Lydia after this terrifying vision is her manager and boyfriend, Rory (Theroux), who has a little ponytail almost as smarmy as himself.

Lydia then gets a concerning message from Delia (O’Hara), an artist of questionable talent and unquestionable ego, who’s mounting a gallery show in which she herself is the canvas. There, Delia tells Lydia that she’s lost Charles. “Is he divorcing you?” gasps Lydia. “What a horrible thought!” replies Delia. “No, he’s dead.” (Such lines are catnip for O’Hara, a genius of comic timing).

Lydia calls her daughter, Astrid (Ortega), at boarding school. Astrid lists Lydia in her contacts as “Alleged Mom,” which tells you much of what you need to know about their fraught relationship.

But let’s pause this account of the living, because we also have to catch you up on the dead. Down where Beetlejuice is stuck, where the dead live — but not the “dead dead” —- Delores, Beetlejuice’s ex-wife, has escaped from the crates (emphasis on plural) in which her body has resided. Watching the glamorous Bellucci literally staple herself together is just one of the glorious creative moments Burton and crew give us here. Alas, Delores doesn't have much else to do, but this is rather spectacular.

We're approaching spoiler territory, so let’s just say that things really get complicated when Astrid goes home to Winter River for her father’s funeral. There, she watches as Mom accepts a marriage proposal from smarmy Rory. Racing off to escape, Astrid runs into a cute young guy reading Dostoyevsky.

A relationship begins, one that will lead to unexpected mayhem. Let’s just say Lydia will need to call upon — gasp! — Beetlejuice, who will exact a fearsome price for his services, as he is wont to do.

And he appears none too soon. Keaton, in his white caked makeup and blackened eyes and hair that looks like he is perpetually sticking his hand into a plug in the wall, slips remarkably smoothly into his old role. “The juice is loose,” as he likes to say.

But you know who’s also got the juice flowing? Burton. It’s his inimitable energy that infuses this movie — a joyously rendered sequel that sometimes makes sense, and sometimes doesn’t, but just keeps rollicking. Among the ridiculous delights along the way: A “soul train” in the afterlife, which is not only literally a train of souls, but a replica of the variety show “Soul Train,” with people in Afros dancing their way to wherever they are going.

And if we don't have the lip-synced “Day-O (The Banana Boat Song)” from the original, we do have a lip-synced “MacArthur Park,” the Donna Summer version. “Someone left the cake out in the rain,” go the ridiculous words of the disco classic. “I don’t think that I can take it, ’cause it took so long to bake it, and I’ll never have that recipe again.”

In the Burtonian spirit, let's just say it took a long time to bake it, yes, but the director has recovered the recipe — at least enough to make us smile, chortle, even guffaw, for 104 minutes. And we can be happy with that.