We all know an epic when we see one. They make us forgive and forget their often three-hour-plus runtime. Everything about the epic, from its runtime to cinematography to soundtrack, must achieve the same heights. Even the best historical epics, which attempt to capture the zeitgeist of major turning points and the key players behind them in an authentic, realistic way, embrace what epic history demands of the cinematic telling of the people and events involved…everything must be larger than life. Everything happens for a reason, colossal shifts in human affairs throughout time likewise had their reasons. And the men and women at the forefront of such seismic shifts were likewise giants of history who rose to the challenges of the day and shaped not only the course of human destiny, but the very nature of human experience and understanding for all time. Sadly, precious little of what we just described applies to Martin Scorsese’s Killers of the Flower Moon. Join us Sunday at 2pm Eastern for a more in-depth review and discussion of the modern state of epic cinema and high art in general. We will be diving into the esoteric causes behind the death of high art and epic cinema specifically, with a specific focus on Scorsese’s newest film, Killer’s of a Flower Moon, Christopher Nolan's Oppenheimer, Denis Villeneuve's Dune, and many other of your most beloved and cherished GENUINE epics of the past...and precisely how and why modern cinema simply does not measure up to epic status, including Killers of the Flower Moon, despite its three-and-a-half hour runtime and labored performances of its two biggest stars, Leonardo DiCaprio and Robert DeNiro.