The Killers of the Flower Moon trailer has debuted today. Based on the 2017 non-fiction book Killers of the Flower Moon: The Osage Murders and the Birth of the FBI by American journalist David Grann, Killers of the Flower Moon will be Scorsese’s first outing since 2019’s Oscar-nominated The Irishman debuted on Netflix. Enjoy the Killers of the Flower Moon trailer here:

Initially scheduled to enter production in 2018, Killers was one of the many film projects hobbled by the pandemic, and didn’t get off the ground properly until February 2021. Its ballooning $200 million budget apparently makes it the most expensive film ever shot in Oklahoma – judging by the epic scale of the trailer, it’s not hard to see why.

Starring DiCaprio alongside Lily Gladstone, Brendan Fraser, Jesse Plemons and Scorsese stalwart Robert De Niro, the plot centres on a series of murders taking place in Osage County and Washington County in the early 1920s, after large oil deposits were discovered underneath land owned by the Osage people.

According to a Deadline feature on the making of the film, Scorsese and his two leads agreed early in pre-production that they did not want to “serve up a white-savior Western” that focused on the heroic deeds of FBI agent Tom White –the character DiCaprio was initially slated to play. DiCaprio reportedly suggested shifting the focus of the film to one of the suspects, Burkhart, and he wound up with the role, while Jesse Plemmons came on to olay White. De Niro plays William Hale, the uncle of Burkhart, and a key figure in the film’s central conspiracy.

“I’d read the book a few years earlier and the Tom White character was more prominent,” De Niro told Deadline. “That was right for the book, but Marty and Leo’s idea to focus on the relationship between Bill and Ernest made sense to me. They wanted to focus more on that dynamic instead of Tom White coming in and saving the day.”

Killers of the Flower Moon has its world premiere coming up at the Cannes Film Festival on Saturday 20th May, and will release worldwide in cinemas on October 6, before streaming globally on AppleTV+.

Terror on the Prairie is a 2022 American Western film directed by Michael Polish and written by Josiah Nelson. Produced by The Daily Wire, and Bonfire Legend, and distributed by The Daily Wire and Voltage Pictures. The film follows a family of pioneers as they defend themselves from a vicious gang of outlaws hell-bent on revenge on the Montana plains. The film features the cast of Gina Carano as Hattie McAllister, Donald Cerrone as Jeb McAllister, and Nick Searcy starring as The Captain, with Rhys Jackson Becker, Gabriel-Kane Day Lewis, Tyler Fischer, Heath Freeman, Samaire Armstrong, and Matthias Hues all featured in supporting roles.

Several years after the end of the Civil War Jeb and Hattie McAllister struggle to raise their adolescent son Will and infant daughter in the wilds of Montana. Hattie expresses her desire to return to her families own land against Jeb’s wishes to be self reliant and to be capable of raising their family on the own. After Jeb leaves to go to the town to look for work, four strangers arrive and ask Hattie for some food and water—although, once she sees they have collected scalps and are killers, she kicks them out. However, the outlaws do not go far. Instead, a stand-off emerges after repeated attempts to break into the McAllister cabin are foiled by Hattie and Will.

Film Threat’s Alan Ng gave the film a score of 8.5 out of 10, stating that “If you like your westerns gritty, violent, and viscerally brutal, you’re in for a fun popcorn night at home.” Ng also spoke positively of Carano and Searcy’s performances. Wade Major of CineGods, awarding three out of four stars, described Terror on the Prairie as “below the surface, it’s a grueling — and often gruesome — meditation on the lingering self-inflicted wounds left by the American Civil War in far-flung locales like frontier Montana and beyond.” Major spoke highly of Searcy and Day Lewis’s performances, though of Nelson’s screenplay had stated that it “largely hews to formula, but it’s a competent effort with well-drawn, if archetypal, characters and strong, credible dialogue.” Christian Toto wrote, in his review for Hollywood in Toto, “Terror on the Prairie lags a bit in the middle thanks to a protracted stand-off. Perhaps a bigger budget would let the production insert flashbacks or other scenes to enhance the story. Otherwise, the film charges forward, letting us marvel at how Hattie improvises on her children’s behalf.”