Killers of the Flower Moon is a late style masterwork. A funereal procession of malignant conspiracy and opportunistic genocide disguised as epic western, Martin Scorsese’s three-and-a-half hour tragedy finds consistently surprising modes to unearth capitalist sin. Shining a megawatt spotlight on the rot underneath American exceptionalism, Killers of the Flower Moon mines the expected powerhouse performances from Leonardo DiCaprio and Robert De Niro, but it’s Lily Gladstone that burns holes in your consciousness. Minor spoiler ahead…

The Irishman, Martin Scorsese’s latest gangland epic, is a somber and morose journey through the life of Bufalino hitman Frank Sheeran. Based on the real Sheeran’s biography “I Heard You Paint Houses,” the film is a measured departure from Scorsese’s past filmography and the genre he helped revolutionize; the mob movie to end all mob movies, The Irishman is a masterful exploration of tragedy and the gravity of regret. Mild spoilers ahead…

The tracking shot. The long take. Whatever you decide to call it, no other cinematic device tests the prowess of a film director like a long scene uninterrupted by any cuts. Directors love the tracking shot because a beautiful long take proves more than anything that they know what they're doing: dialogue must be timed perfectly, camera operators must be on point, action choreography must hit their marks, and no mistakes can be made. The longer the shot, the harder it is to film. So, in my humble opinion, here are the five greatest tracking shots of all time...