Saltburn

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.

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 moves along at a good pace, rather stylish and hip as it creates some anticipation for where it may be going. It develops a bit of mystery but we never understand the motivation for the protagonist character. Not much depth for the various character, so can't get invested in them. Several scenes are designed to depict ridiculous opulence and wealth, so as to contribute to why the main character has disdain for this, yet we don't ever feel this disdain.

As the end approaches it becomes predictable while it quickly and conveniently fills in the holes of whatever mysteries it tried to create. Overall, Saltburn lacks substance and hence I was left feeling with the lack of meaning for whatever message the film is trying to depict.

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.

It's clear this film isn't for everyone. Sometimes when a plot isn't spoon fed to the audience you lose that audience but it's ok, not everything is for everyone.

Personally I thought it was very well done.

Perhaps it is being British myself that I can see this is clearly a riotous comedy in the vein of poking fun not just at the upper crust but also those who aspire to it.

People seem to think this is a thriller but it seems to me more like a set them up then watch the dominos fall film.

Rosamund Pike has so many witty one liners and Richard grant is just perfect along with Carey mulligan as Poor Dear Pamela. I could delve into what does it say about class, privilege, social mobility etc but none of that matters. I think Emerald Fennell captured a cartoonish yet almost believable representation of the out of touch old money families of the UK and what it may be like not to have a financial care in the world.

Barry Keoghan is equal parts charismatic and revolting as evidenced by his actions but we are never given more that the briefest sense of why, which doesn't matter because this is an absurd bit of fun that stays with you for days after.

And about that last scene, I recently discovered it's a redux of the original video for murder on the dance floor. So there you go.

I found this film, funny, gross and very memorable. Emerald Fennell did a great job.