It is likely that a film theorist has a thesis that Flowers fits into a Scorsese oeuvre of American crime stories such that its part of a Goodfellas and Casino arc. It may seem improbable but it is not without justification insofar as Flowers is also the story of male friendship and loyalty just as the two mafia movies were, and let's not forget, Mean Streets too. It is a theme that Scorsese has turned over and over for 50 years.
But, as with The Irishman, the running time is contentious. In the future, when most of the participants in this film are long gone, this movie maybe considered a late great achievement by its director. It is that but for the duration which taxes the attention, and in a world of shorter attention time spans, tests viewer commitment on one condition, that is: If it had many twist and turns it might not seem as long as it is, but once the story is set in motion the unraveling goes along at a steady pace - like a novel actually - and although more events are added, nothing like a plot twist adds shock and surprise. It is this which adds to the sense of excess duration. Alternative formats are questionable but there is no obvious fault in the writing in the direction so we have a product which will inevitably viewed in distinct sessions rather than in a single sitting.
Having got that out of the way, the movie is strong, and if ever the phrase the banality of evil applied it is to the two protagonists, who are opportunistic greedy psychopaths. The De Niro and DiCaprio performances are as good as ever and opposite each other play well. Supporting roles are effective but there is a cameo effect where some are short, they fill in the necessary plotting; the visit to Washington for instance - though that is an unavoidable trade-off for this type of movie.
Production design, the look and feel is compelling as is the photography adding the period. The historical story is the core and it does have enough to it to keep the interest, even if a break is required at times.
But, as with The Irishman, the running time is contentious. In the future, when most of the participants in this film are long gone, this movie maybe considered a late great achievement by its director. It is that but for the duration which taxes the attention, and in a world of shorter attention time spans, tests viewer commitment on one condition, that is: If it had many twist and turns it might not seem as long as it is, but once the story is set in motion the unraveling goes along at a steady pace - like a novel actually - and although more events are added, nothing like a plot twist adds shock and surprise. It is this which adds to the sense of excess duration. Alternative formats are questionable but there is no obvious fault in the writing in the direction so we have a product which will inevitably viewed in distinct sessions rather than in a single sitting.
Having got that out of the way, the movie is strong, and if ever the phrase the banality of evil applied it is to the two protagonists, who are opportunistic greedy psychopaths. The De Niro and DiCaprio performances are as good as ever and opposite each other play well. Supporting roles are effective but there is a cameo effect where some are short, they fill in the necessary plotting; the visit to Washington for instance - though that is an unavoidable trade-off for this type of movie.
Production design, the look and feel is compelling as is the photography adding the period. The historical story is the core and it does have enough to it to keep the interest, even if a break is required at times.