Saltburn

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.

I was quite nervous when I saw this. I was expecting a sort of hybrid of "Another Country" meets "Brideshead Revisited" as the story of "Ollie" (Barry Keoghan) and his aristocratic pal "Felix" (Jacob Elordi) unfolds. Both are at Oxford university, but the former man is very much a poor relation of his well-heeled contemporaries. One afternoon, though, he comes to the aid of "Felix" lending him his bike, and what now ensues is a friendship that sees the two gradually start to bond and for the latter to invite his new friend to his eponymous stately pile as a guest of his mother (Rosamund Pike) and father (Richard E. Grant). Tagging along throughout this experience is the slightly malevolent and jealous "Farleigh" (Archie Madekwe) as their summer vacillates from the hedonistic and enjoyable to the ghastly and tragic. It's a bit of a slow starter, but once we arrive at the ancestral pile the story starts to gather pace and "Ollie" proves to be quite adept at navigating - even manipulating - the frequently quite treacherous environment in which he finds himself. It is definitely too dialogue heavy, but Keoghan is good here and there is quite an effectively building degree of menace as we start to realise that maybe things aren't all quite what they seem. I found Madekwe also rather good as the odious hanger-on (only a posher one) and Carey Mulligan walks quite a characterful tightrope too. The photography and aesthetic of the film along with Anthony Willis's score all add a degree of richness to a story that isn't as derivative as I feared. I can't think it's a film I will remember in a few years, but it is well worth a watch as Mr Keoghan continues on his journey to what must be greater success.

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.

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.

This is a story that cleverly and darkly portray the class disparity and it's societal mutations. We see household of the working man all shattered with shame. We see the palace loosely knit with wealth. And we see the palace dwelling Cuckoo with madness in his gaze and forethought in his manner. Excellent performances especially by Barry Keoghan. Vivid visuals keeps the audience on the edge. Excellent cinematography that adds the twisted mysteriousness to every frame. Great sound effects to deliver the liveliness of characters. Contrasting background music to remind the SaltBurn is never what you expect till the very end.