Saltburn

It is 2006, and scholarship student Oliver Quick has just arrived at Oxford. He doesn't fit in with the upper-class atmosphere and has no acquaintances. After befriending Felix Catton, a popular and wealthy fellow student, however, Oliver finally seems to find his place at the University. Invited to the Catton family home- Saltburn- for the summer holidays, Oliver is thrust into the dark heart of the blue bloods. Nothing is as it seems though, as the idyllic vacation transforms into one from hell itself.

Written and directed by Emerald Fennell, 'Saltburn' is an initially intriguing, though ultimately irritatingly derivative, predictable psychological comic-horror. Fennell's narrative begins with promise. In the first act, you aren't sure who to trust, nor where the story is heading. However, after the action moves to the manor house, Saltburn, things devolve into a messy and obvious retread of ideas that have been expressed more eloquently in previous films, be they 'The Talented Mr. Ripley, 'Teorema' or 'The Servant.'

Those films examined themes such as class difference, obsessiveness, personality and manipulation with aplomb and ingenuity. Fennell appears content to skirt around the edges of these themes, never going into them with depth. Nor are the characters in her narrative provided with any kind of motivation for their actions. One, in particular, acts in a violent vacuum of self-obsession and jealously- but why? What made this character the way they are? Fennel never bothers to tell us, seeming satisfied to leave audiences in the dark.

Moreover, her characterization is largely based on stereotypes and cliches. Oliver is essentially just a less charismatic, Scouse Tom Ripley, with darkness beneath a thin veneer of awkward shyness. Felix is exactly like Ripley's object of obsession, Dickie Greenleaf, while his eccentric family are people we've seen before in countless films which mock the aristocracy- 'The Ruling Class' among them. Familiar and lacking in depth, Fennell's characters aren't particularly interesting, nor is her narrative particularly original. Further, while her dialogue is frequently funny, it can also be pretentious- particularly during Oliver's intermittent narration.

Throughout the film, Fennell handles the material with great deference- too much, one might argue. She lets uncomfortable scenes linger interminably, seeming to think this imbues them with some kind of raw power. The ending, featuring full-frontal nudity- reminiscent of the music video to Liam Gallagher's 'Once,' starring a thankfully clothed Eric Cantona- seems self-indulgent and, shall we say, cocky. Furthermore, a twist in the last act is neither surprising nor effective, while also sending the film into the realm of fantasy; so completely does it abandon real-world logic.

Conversely, Linus Sandgren's glossy cinematography is striking. Sandgren makes excellent use of colours and unconventional shots and angles, heightening the suspense of the narrative, as well as compounding the decadence of the Catton family. He employs a ratio of 1.33:1, giving the film a top-heavy, boxed-in look, making locations feel daunting. It is work full of contrast- although, a cynical critic might suggest an over-reliance on cliched visual metaphors, such as reflections, or the obvious juxtaposition of characters wearing devil horns and angel wings.

However, Sandgren's visuals generally come as a boon to proceedings, as does Suzie Davies' rich production design. Textured and detailed, her work fosters a vivid, immersive atmosphere, which Sophie Canale's costume design and Charlotte Dirickx's set decoration compounds. In addition, Anthony Willis's score is stirring. His original pieces are seedy and evocative, while songs used throughout- perhaps most notably Sophie Ellis-Bextor's 'Murder On The Dancefloor'- complement the narrative.

Barry Keoghan stars as Oliver, alongside Jacob Elordi as Felix, Alison Oliver as Felix's sister Venetia and Rosamund Pike as Felix's mother Elspeth. Keoghan is a fascinating actor, who plays strange characters with verve and intelligence. Here, however, he gives an inconsistent performance. When playing Oliver as a weird, insular personality, he shines; though when he has to display his dominant side Keoghan lacks conviction and doesn't convince- an oddly played, oddly written night-time scene with Venetia being clearest evidence of this.

Elordi does much more assured work, despite the fact that the character is just a 2006 version of the aforementioned Greenleaf. He impresses though, overcoming the scant characterisation of the role. Oliver is excellent, underplaying the complexities of her character, while Pike steals the show as the eccentric Elspeth. Richard E. Grant also stars, as Felix's father, but is criminally under-utilised, while Archie Madekwe's grating performance as Felix's cousin is smug and one-note.

In conclusion, Emerald Fennell's 'Saltburn' is a film trying to provoke, though isn't as challenging nor original as its creator thinks it is. Though it is funny from time to time, and the first act is intriguing and suspenseful; the film is ultimately an uneven, predictable and derivative affair. While the cinematography is striking and the score atmospheric, the performance of star Barry Keoghan is inconsistent. Although Rosamund Pike is a delight, the film around her is not worthy of her talents, nor can she save it completely. Not to rub salt in the wound, but this film doesn't burn as brightly as it could have.

Saltburn

Now this was an interesting film. It's a mind game. It's manipulation. And it's nefarious. Be prepared to squirm Be prepared to gasp. Be prepared to say "oh dear God" a few times. The movie follows a very shy and quiet Oxford student on his quest to fit in. After a school year, he is invited to join his new friend at his family's enormous castle where we definitely see him in a fish out of water situation.

Then things... happen. Oh boy do they happen. This is all I'm going to say but be prepared for a wild ride, and don't be squeamish. I enjoyed this, but it really deserves its R rating. It's very adult and highlights the depths human beings can go, regardless of material wealth.

You know I love to find the human experience presented, possibly with a lesson in mental health awareness. Oh God no. Perhaps there is awareness, but there is no lesson.

Rosamund Pike does steal the show. Her one liners are absolutely hilarious.

Enjoy the ride.

Saltburn, directed by Emerald Fennell (who brought us the excellent A Promising Young Woman), is a psychological thriller drama that attempts to navigate the maze-like world of the English aristocracy, but unfortunately, it loses its way. The film stars Barry Keoghan as Oliver Quick, a scholarship student at Oxford University, and Jacob Elordi as Felix Catton, a charming aristocrat who invites Oliver to spend a summer at his family's sprawling estate, Saltburn.

Saltburn is set in the mid-2000s, a period marked by some economic and cultural decadence. It attempts to explore the clash of social classes, moral vacuity, and the seductions of wealth. However, the film's historical and cultural context feels superficial, failing to delve more deeply into the societal dynamics of the time. Despite being promising, the plot suffers from predictability and a lack of subtlety. The film tries to play with the idea of these enormous bastions of privilege and power as unique breeding grounds for strangeness, but it doesn't quite hit the mark. Forced and repetitive dialogues, which frequently feel artificial and contrived, further weaken the narrative.

Despite having talented actors portraying them, the characters lack depth. Oliver, played by Keoghan, is a hateful, lustful, and envious character, but his portrayal is flat and uncomplicated. Felix, played by Elordi, is a character who comes from a life of blatant privilege, but his flimsy compassion does not seem real.

Although Fennell's direction is bold, it lacks the dexterity required to make this intricate story come to life. The film's pacing is erratic; certain scenes seem rushed, while others drag on needlessly. The movie's soundtrack seems haphazard and does not improve the story. The movie also occasionally goes a bit too far in terms of taste and may have you cringing.

The cinematography and production design are perhaps the film's strongest points. The grandeur of Saltburn, the sprawling estate, is captured beautifully, and the film does a commendable job of creating a lived-in feeling that feels glamorous and filthy at the same time. These artistic components, however, are insufficient to make up for the film's weak narrative.

Saltburn is a film that promises much but delivers little. Despite its grand setting and talented cast, it fails to provide a compelling narrative or engaging characters. It's a film that tries to be a critique of the English aristocracy and a psychological thriller but falls short on both counts. While it may appeal to some viewers for its aesthetic appeal, it's a film that, unfortunately, doesn't live up to its potential. It's not a film I'd recommend.

I really don't understand why this movie is getting such rave reviews on here. Yes, it was very stylish, the music was great, and the acting was good. But the storyline was a HUGE disappointment. I kept waiting for something to happen, and when it finally did I was severely underwhelmed and disappointed that that was the direction the filmmakers went. It's overplayed, not creative or interesting. I saw the movie "Parasite" and I LOVED it. This movie just seemed like a cheap and trashy knock off with some bizarre scenes thrown in there for "shock value". Watch it if you want to see what all the buzz is about, but I'm just saying you might be left disappointed and wishing you would've spent 2.5 hours of your time on something else.

Sometimes I thought Saltburn had more bravura in the "I Want the Ultimate GOTHIC Horror/Mansion Look" direction department going on rather than a legitimately clever script (or that it thinks it has a more clever plot than it does), and at other times I thought the script had incredible lines for these very good actors and maybe the film was over-directed.... like, okay, we get it, Fennell, you want to make the most Bronte thing that the Brontes never could.

It is, visually, mostly boldly realized as a piece of hard-R pop provocation that works more than it doesn't, despite its ending changing some perameters with the leads initial ambitions that are tough to swallow. I don't think it is that deep, whether it was trying to dig into thorny Class stuff (it's a more Personal-Obsessive chronicle than that) when practically everyone is a vampire or not, save, tellingly, for who Oliver actually comes from. Frankly, knowing it was inspired by Talented Mr Ripley going in did no favors by comparison (with a bit of, aside from coincidentally "You" season 4, Teorema oddly enough), like at a festival with nothing to go on this might have got to me a little more.

However, even with the obvious influences and one particularly glaring story problem - or just with logic involving a cell phone (you know, genius manipulator kid, you can block a phone number or just turn it off) - this is a glorious showcase for Barry Keoghan to (again!) be an intensely, leering, uncomfortable and yet always in his way natural creepy little confusingly-big shlonged weirdo; he and (second time this month post Priscilla an alluring) Elordi have excellent chemistry, and I can't stress enough that, with actors, in particular a scene-stealing Allison Oliver as the f'd-up sister, Fennell has as strong a grasp on her caat and like how far to let Pike and Grant go and when to reel them in (that scene with the checkbook is wonderful).

If you want meaty acting, this definitely has that (a new category: Acting Over Substance?), and when it tries to be funny it largely is, and while it doesn't stand out as one of the best of the year it is an entertaining film moment to moment. If you were expecting another round of sociological buckshot in your brain, it doesn't have as much substantive things to say as Promising Young Woman did.

Dare I say it now... whatever you got planned for Joker, Barry: bring it.