It would look like showing off if it weren’t so damn effective. One jawdroppingly limber Steadicam shot pursues a character until he's killed, then switches to the killer until he's dispatched too, and so on, mounting and dismounting a horse and even plunging into water to capture a drowning. It's a mesmerising, violent piece of action choreography, as Iñárritu's camera (the brand-new 6.5k ARRI 65, in case you were wondering) glides through the chaos. Then Arikara warriors burst out of the foliage, cueing an eruption of distinctly non-Terrence-Malick-like carnage. The movie opens with a moment of serene beauty, gliding Terrence-Malick-like through a waterlogged forest as Glass and his son (Forrest Goodluck) hunt elk, just outside camp. They are also a chance for ace cinematographer Emmanuel Lubezki to show he's not slacking after winning consecutive Oscars for Gravity and Birdman. In two blistering early set-pieces, the sheer brutality that mountain men faced back then is made clear.
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