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I am a big fan of Edgar-Jones and desperately wanted to love this film. I saw the film at SXSW in the beautiful Paramount theater with Edgar-Jones appearing on stage with several of the other actors. She is the producer of the film.

I found the story very disjointed and the overall flow of the film fighting against itself. Yes it is super glossy with beautiful actors across the entire cast so great eye candy but for myself uninspiring acting.

So what is the point of the story here? Is it we keep secrets or one needs to follow their own path? Honestly the end of the film was a complete let down and was thinking riding horse into the sunset was a final joke.

Rating - 5.4: Overall, a lackluster, Oscar-bait period drama that is about characters exploring their sexuality in a time when it's taboo, but the movie does so in a surface-level way that provides no nuance to the issue and gives you no material to really care about these characters.

Direction - Pretty Bad: The direction on a macroscale feels very similar to other period dramas like this; the direction on a microscale is pretty lackluster because the actors are giving emotion to material that has no substance or nuance; the storytelling is not good because the movie shallowly discusses the topic and doesn't really provide stakes that engage you

Story - Bad to Pretty Bad: The concept is very surface-level and provides no nuance to these characters exploring their sexuality; the horse-racing storyline is poorly incorporated into the plot; the plot structure follows two parallel stories that intersect at points in the story; the two storylines do not really do a good job exploring the relationships of the characters; character writing is bad because it presents these characters exploring their sexuality in such a surface-level way that provides no nuance to why this was taboo in the 1950s, especially for Edgar-Jones' character

Screenplay - Bad to Pretty Bad: The dialogue provides no substance as it is bland and boring; the symbolism is incredibly surface level and provides no nuance to these characters exploring their sexuality, especially Edgar-Jones' character; the foreshadowing is present

Acting - Pretty Bad: Daisy Edgar-Jones - Pretty Bad (Gives a very surface-level performance; she doesn't really explore the character's sexuality at all and does not really have chemistry with any other characters; In a role that really depends on having good chemistry), Jacob Elordi - Decent (Gives a very surface-level performance; does an alright job exploring the character's sexuality, but it feels very forced and presents no nuance to the relationship's taboo; has alright chemistry with Calva, but very forced chemistry with Edgar-Jones), Will Poulter - Decent (Just a very standard, 1950s husband being cheated on, character; he does not really have chemistry with anyone), Diego Calva - Bad (Feels very forced and does not provide nuance to the character; it has very surface-level chemistry with Elordi), Sasha Calle - Decent to Pretty Good (Probably the best performance for the movie, which isn't saying a lot, because her character is somewhat believable and you can tell the struggle she's going through; she tries to build chemistry with Edgar-Jones, but it isn't reciprocated on the same level), Rest of the cast - Pretty Bad (Just a bunch of formulaic period drama performances)

Score - Decent: Helps set the tone

Cinematography - Pretty Good: The movie is well-shot and feels polished

Editing - Pretty Good: Feels polished and well-edited

Sound - Pretty Good

Visual Effects - Pretty Bad: The fact that they had to CGI the horses shows what is wrong with Hollywood right now

Pacing - Pacing is very slow because it doesn't feel like anything is happening; I would have liked to have seen them add more time to explore these parallel storylines and provide more depth, or just cut one of the storylines altogether

Climax - Climax is decent for how heartwarming it is

Tone - Tone feels like a typical period drama that's Oscar-bait;

Final Notes - Saw the U. S. premiere at SXSW.

My wife and I watched On Swift Horses (2024) in theaters. The story follows two individuals entangled in complicated relationships-with others and with themselves. As they navigate a journey of self-discovery, they begin to realize that their shared sexual fluidity may be what ultimately draws them together.

Directed by Daniel Minahan (Deadwood: The Movie), the film stars Daisy Edgar-Jones (Normal People), Jacob Elordi (Euphoria), Will Poulter (We're the Millers), and Diego Calva (Babylon).

This is a well-crafted period piece that captures the era beautifully, especially in its portrayal of societal expectations and norms. The acting is top-tier-each actor is well-cast and fits their role convincingly. The premise has real potential, and the film thoughtfully explores the internal struggles and evolving identities of its characters.

That said, the love story didn't resonate as strongly as I'd hoped. Some of the chemistry feels authentic, while other relationships fall flat and lack the depth they seem to be reaching for. By the end, the film leaves you wanting more-emotionally and narratively.

In conclusion, On Swift Horses is a smart and well-executed film that doesn't quite hit its full potential. I'd give it a 6/10 and recommend seeing it once.

Be prepared for a lot of butts...both human and cigarettes.

Here's my 2nd "Mystery Movie" (or as AMC calls it, "Screen Unseen.") All I knew was the Rating (R) and length. My guess was "Sinners." Wrong. My friend's guess, and he's almost ALWAYS right, was "The Accountant 2." Also, wrong. In fact, neither of us could be FURTHER from what this movie was.

And I bet this was a very, very big surprise to the almost-packed audience. I had to not-so-secretly smile to all the heterosexuals in the audience who would've never paid to see a LGBTQ+ period piece melodrama...in their lives.

As stated, this movie takes place in the 1950s and explores an unconventional love triangle. Two brothers, two Korean War veterans couldn't be further apart, but still love each other. In-between is one of the brother's wife. All three have dreams...and two of which were really hard to come by with 1950s homophobia.

I liked the movie, there's really nothing wrong here. I like that there were two heartbreaking leads vs. The typical one. The acting was fine and the stakes were real. Was it anywhere close to the similar Brokeback Mountain?

Absolutely not. Not even in the same league. But, it's a good update to how homosexuals struggled in the 1950s. I can't even imagine what it was like then. I will forever salute the brave men, women and everyone who stood up to homophobia to make it easier - no, 1000x easier for future generations.

I don't suspect so, but it would be interesting to see if this gets any award buzz next Awards season. Maybe I'll have to revisit this and see something different. For right now: I did like it, I didn't love it and I didn't regret seeing it.

***

Final Thoughts: I do love to go into a movie cold. Not knowing much about it, other than the title, usually at least one of the leads, maybe genre/subgenre and a recommendation. This is by far, the coldest I've ever experienced. I never once heard of this movie, the background or absolutely anything. In fact, I was worried I wouldn't remember the title since I never heard of this before to write this review. Well, I finally got my #1 wish...to be completely frozen over.

On Swift Horses is a slow-burning, atmospheric drama about love, secrets, and self-discovery. The film's strength lies in its strong performances and beautiful cinematography, which capture the quiet intensity of the characters' emotions. While the pacing is deliberate and may feel too slow for some, the emotional depth and subtle storytelling make it worthwhile. It's a thoughtful film that lingers after the credits, exploring themes of longing and identity with sensitivity.

Synopsis: Muriel and her husband Lee are beginning a bright new life in California when he returns from the Korean War. But their newfound stability is upended by the arrival of Lee's charismatic brother, Julius, a wayward gambler with a secret past. A dangerous love triangle quickly forms. When Julius takes off in search of the young card cheat he's fallen for, Muriel's longing for something more propels her into a secret life of her own, gambling on racehorses and exploring a love she never dreamed possible.

On Swift Horses is a film about social control; how dominant collective ideology puts us in boxes and forces us to perform the status quo. As such, it's going to alienate a less discerning audience who, to be fair, have never questioned anything within their social lexicon.

Whilst the other user reviews on here currently denote mainly the dangers in trying to introduce a film with a bit of meaning to the kind of people who watch maybe 10 movies per year (and, in particular years, 6 of those movies are Top Gun: Maverick) at a Cineplex promo screening best suited for crap starring Jason Statham, I can assure you that it is a very intentional and very thoughtful film.

It's about the balance between being true to oneself and appeasing those around you out of fear of isolation and rejection; the gradual evaluation and awareness of such in one's own life and the amount of sacrifice that assimilating to your socio-economic peer group can entail.

The plot of the film is already described in the synopsis and to say much more than that may inadvertently spoil it.

Admittedly, the pacing is deliberate and the tone sombre, which, again, will alienate those who stare at Instagram reels all day. But for those who appreciate film whose form matches its content and that doesn't patronize its audience, they will find it rewarding.

This is a film about nuance; about reading non-verbal cues; and, as the title suggests, about the balance between personal freedom and being a controlled rider of your own journey.

We all have to decide if we want to race and enjoy it or take cautious steps without risk.

USA FILM FESTIVAL Greetings again from the darkness. One need only watch a couple of episodes of "Leave it to Beaver" to comprehend just how ideal and perfect family life in the 1950's was. Only that was a Hollywood façade and real life was much different, especially for anyone who wasn't a straight white male ... and even many of those served in the military during the Korean War and/or faced the pressure of being the sole breadwinner. Daniel Minahan (known mostly for his TV work) directs the screenplay from Bryan Kass (LIZZIE, 2018) who adapted the 2019 novel from Shannon Pufahl.

Daisy Edgar-Jones (TWISTERS, 2024) stars as Muriel, a young woman who reluctantly accepts the wedding proposal from Lee (Will Poulter, DEATH OF A UNICORN, 2025; MIDSOMMAR, 2019). In keeping with the times, Lee assumes his dreams of a new house in the growing suburbs of California are shared by his new partner ... so he's a bit annoyed by her reluctance to sell her childhood Kansas house she inherited from her recently deceased mother. A third wheel pops up in the form of Lee's rudderless younger brother Julius (Jacob Elordi, PRISCILLA, 2023), who has recently been discharged from the Navy.

An intriguing connection forms between Muriel and Julius, and it continues playing out through the entirety of the story. While Lee strives for the traditional American dream, Julius and Muriel separately maneuver through their own internal emotions that don't easily slide into the life respectable folks are expected to follow. Both have a bit of hustler in them as Muriel uses her alert ears during shifts as a diner waitress to pick up tips on the next horse race, while Julius capitalizes on his casino surveillance job - one that brings him money and love.

Two excellent supporting roles are courtesy of Diego Calva (BABYLON, 2022) and Sasha Calle (THE FLASH, 2023). To disclose specifics would be to reveal spoilers that I refuse to serve up. What I can say is the story takes us from Kansas to California to Las Vegas to Tijuana. Along the way, we witness the challenges faced by those out of step with society. We see the deceits required as these characters walk the line between what's expected and the path to follow their own dreams. It can be heartbreaking and frustrating, and Minahan's film expertly shoots down the façade of the perfect 50's. The acting is superb, with Daisy Edgar-Jones seamlessly capturing the look of the era, while Jacob Elordi beautifully fulfills the more difficult role. This is a film for those who appreciate climbing inside the characters to understand their longing.

Now playing in theaters.

Muriel (Daisy Edgar Jones) and her husband Lee (Will Poulter) are about to begin a bright new life, which is upended by the arrival of Lee's brother Julius (Jacob Elordi). Muriel embarks on a secret life, gambling on racehorses and discovering a love she never thought possible.

I think the film is trying to say that none of us know what we want, until we lose what we don't want, and find what we do. But I could be wrong because this tedious film doesn't actually seem to have a point.

It's nicely filmed, but so slow I was getting quite frustrated at things not happening, and when they did they made no sense. I honestly think it is nothing more than a titillating film with men on men sex, women on women sex and plenty of boobs, camel toe and men in white underpants.

There's no real flow at all and no real storyline; it's empty and boring. Will Poulter is great but apart from him there's not much decent acting going on. It was laborious to get through to the end so I give it a 4 and that's being incredibly generous.

Ever heard the phrase "life's not meant to be managed, it's meant to be lived". I guess this movie shows it's a little bit more complicated sometimes, for some. It's a dance between managing and living. On the one hand everyone's trying to manage what others know about them and on the other hand taking great risks. Living on the edge. One character says that there's always the risk of losing it all. Nevertheless, some brave souls are willing to risk it all. For a chance at love, freedom, pleasure, connection, truth. A chance to be honestly seen and loved.

Is this a great movie? That depends. There are great things about it for sure. The actors for one. The stories told. Fascinating stories of hidden lives, and of secrets. Now exposed to us. Beautiful cinematography! Some shots literally made me want to freeze the frame, take it all in, and then after a long pause, push play.

The adaptation of Shannon Pufahl's novel by Daniel Minahan with a script by Bryce Kass, leaves the feeling of a film that doesn't quite fit together, in which it seems to have good ideas, but not fully developed ones that end up leaving us with the feeling of a film that lacks strength.

With a star-studded cast led by Daisy Edgar-Jones, Jacob Elordi, Will Poulter, and Diego Calva, they are the ones who allow the film to function in terms of intensity, thanks to their solid, dedicated performances. This relationship of indomitable characters is perfectly portrayed by the cast and sustains the weaker moments of the script.

Daniel Minahan's direction is sensual and seductive, complemented by his excellent photography and artistic design, but it is also limited in what his script offers to exploit. We find ourselves with a decent script, but it doesn't explode when it seems it should and feels somewhat chained to the correctness of a proposal that should please everyone, rather than finding its own space and time to invite the viewer to be part of this game of forbidden, seductive, and incorrect romance. Unfortunately, this limitation prevents us from enjoying an intense drama, that of a period romance and the epic of romanticism that is sometimes so lacking in cinema.

What's worth saying is that the film does have a feeling, and it brilliantly applies it to this forbidden love about sexual identity and finding oneself. It's a powerful vision of the fissures that simmer beneath the surface of the United States. It could have been much more intense, but that doesn't mean we're in the presence of an interesting proposal, one that, in its imperfection, hides the old Hollywood cinema it wants to resemble. At times, it succeeds thanks to its star-studded cast, and at others, it remains only with good intentions.

It's a film worth giving a chance to, to bring out your own feelings and emotions.

The first thing that doesn't stick at all is the actors' faces and demeanor with the environment and era they are supposed to be living in: their haircuts, makeup and postures are not credible at all.

Then the story is long, slow, and full of slurred speech. Jacob Elordi has the most inexpressive face I have ever seen. Any role in his hands falls flat because for some reason everybody expects his lovely body to compensate for a total lack of acting talent. The only role he played well was the inexpressive, confused teenager in Euphoria.

The result is a flat story that just keeps taking curves here and there without any real depth or emotionality. Flat characters who act out events but can't express the feelings contained in those events.

The end scene is a perfect summary to the whole thing: it is completely unrealistic and ridiculous, much as it tried to be poetic and inspiring.

And I don't like the way they treated the horse at all. The entire horse story is animal abuse.

Really really boring. And almost two hours long!!

The narrative centers on Muriel, a young married woman who, after the arrival of her brother-in-law Julius, begins to question her life and explore her attraction to her neighbor Sandra. Meanwhile, Julius, a Korean War veteran, moves to Las Vegas, where he begins a passionate relationship with Henry, a casino worker. Both characters, although on different paths, seek authenticity in a world that demands they hide their true nature.

Visually, the film stands out for its meticulous setting and cinematography, capturing the essence of the era with an aesthetic that evokes both oppression and hope. Edgar-Jones and Elordi's performances have been praised for their depth and nuance, bringing humanity to characters who might otherwise have become stereotypes.

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I just watched a movie that absolutely blew my mind. From the very beginning, it pulls you in with a strong sense of atmosphere and emotion. The pacing is perfect - never too fast, never too slow - keeping you intrigued and emotionally invested the entire time. Every single detail, from the cinematography to the music, feels intentional and carefully crafted. It's one of those rare films that makes you feel like you're truly experiencing something special.

The performances are phenomenal. Every actor seems completely immersed in their role, delivering lines with such authenticity that you forget you're watching a movie. There's a rawness to the emotions portrayed, making even the quietest moments feel incredibly powerful. You can sense the depth behind each character, even when they aren't saying much. That, to me, is a true sign of brilliant storytelling - when silence speaks louder than words.

What I loved most was how layered the story is. On the surface, it's captivating and easy to follow, but the more you think about it, the more you uncover deeper meanings and subtle messages. It's not just entertainment - it's a work of art that invites reflection. It explores human nature in a way that's both beautiful and heartbreaking, making you think about your own life and the choices we all make.

The visual elements are stunning. There are scenes that are so beautifully shot, they look like paintings. The lighting, the color palette, the framing - all of it comes together to create a visual experience that's just as moving as the story itself. And the soundtrack? It's absolutely perfect. Every song, every instrumental piece adds something unique to the scene it accompanies. I found myself replaying some parts just to soak in the sound and emotion again.

Another aspect that really stood out to me was the film's ability to blend genres without feeling messy. There are moments of tension, moments of humor, and moments that are deeply emotional - and somehow, it all works. It doesn't feel like the film is trying too hard to be everything; instead, it feels natural, as if life itself is being portrayed in all its complexity. That balance is incredibly difficult to achieve, and yet, this film does it with grace and confidence.

It's the kind of movie that stays with you long after the credits roll. You find yourself thinking about the characters, the decisions they made, and what it all meant. It opens up a space for conversation and interpretation, which I love. There's no single way to view this story - it invites you to find your own meaning in it, to reflect on your own experiences and emotions.

I also have to praise the direction. It's clear that the person behind the camera had a strong vision, and every scene feels purposeful. Nothing is wasted. Every look, every pause, every word contributes to the greater whole. You can tell a lot of heart went into making this movie, and that passion is felt in every frame.

In a world where so many films feel formulaic or driven by trends, this one stands out as something truly original. It's a reminder of what cinema can be - a powerful, moving, and deeply human experience. I'm so grateful I got to see it, and I honestly can't wait to watch it again. I know I'll notice new things the second time around, and probably even more on a third viewing.

If you're someone who loves films that make you feel something, that challenge your mind and touch your heart, this is absolutely one to watch. It's more than just a movie - it's an experience, and one I won't be forgetting anytime soon.

This was horrendous. I hated every moment of this film but only stuck around because I'd obligated myself to a livestream discussion about the latest mystery movie at AMC. First of all, I'm not a fan of character dramas or romance. Sometimes they work okay for me but most of the time I'm just not interested or not overly impressed at all. This one was torture to sit through because not only was it a character "drama" but it was also supposed to be a "romance" in the form of a wife cheating on her husband with another woman, making bets on horses and saving up money behind his back, lying about selling her mother's house, AND lusting after her brother in law, who also lusts after her but who is a closeted gay or bisexual person as well. He also routinely takes advantage and/or steals from people. And the audience is supposed to somehow feel "sorry" or "root" for these two wretched people? Nope. Not here. Almost no one in this stupid movie was likable at all, except for the unknowing husband and the darn horse his brother brought to the house. This one's gonna end up on my list of worst films for 2025.

This romantic drama, set in the 1950s, after the Korean War, is the story of people who pursue both the American dream and their passions, and experience the burning and destructive aspects of both. The three characters that form the backbone of the story are played by three very talented young actors; Daisy Edgar-Jones, Jacob Elordi and Will Poulter. It is an exciting, sexy and tragic film. The plot is a bit messy, some sub-plots are reduntant (e.g. Muriel & Sandra or Muriel & Gail), and I felt that the relationships between the characters were sometimes built up too hastily (especially Muriel & Julius). It could have been a more organized, more focused and deeper film, but it is still a very fluent and enjoyable one to watch. 7/10.

Good!

"On Swift Horses" is a film that stands out for its melancholic atmosphere and its intimate portrayal of characters searching for identity, love, and freedom in a time full of restrictions. The storytelling is slow but intensely emotional, allowing the characters to develop in an authentic and profound way. The cinematography, with its warm tones and careful framing, enhances the emotional tension and the constant feeling of restrained desire. The performances are subtle yet powerful, conveying more through glances and silences than through words. Although its pace may feel slow to some viewers, those who appreciate introspective dramas will find a moving story, rich in symbolism and visually stunning. It is a work that invites reflection on dreams, risks, and the consequences of seeking a true life beyond social expectations.

"On swift horses" is a throwback to the wonderful old Hollywood films. A gorgeous movie with outstanding and moving performances by Jacob Elordi, Diego Calva, Daisy Edgar-Jones and Will Pouter leading the capable ensemble cast, I thoroughly enjoyed this entertaining and humorous film. Jacob Elordi conveys both vulnerability and charm masterfully, and is luminous. Daisy Edgar-Jones is mesmerizing in every scene she is in. Director Daniel Minahan's "Call me by your name" was one of my favorite films, and this film is a worthy successor. Minahan treats his intimacy scenes with great care and the love for the characters are evident, the love scenes are sexy and emotional. The movie is about pursuing your truth in a challenging world, and being your authentic self is always worth it. I loved "On swift horses" and believe this movie will be remembered as one of the more noteworthy films in modern day gay cinema.