Saltburn

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.

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.

Saltburn is a bold, unsettling ride that delves deep into the complexities of class, obsession, and moral ambiguity, mixing Greek mythology with contemporary social commentary. The story follows Ollie (played by Barry Keoghan), a shy and awkward Oxford student who's drawn into the luxurious, decadent world of his aristocratic friend, Felix (Jacob Elordi). As the film unravels, it reveals the stark contrast between public personas and private realities, critiquing both societal norms and the shallowness of social media culture.

Winny found the performances absolutely stellar, particularly Barry Keoghan's portrayal of Ollie. He was drawn into the character's obsession and vulnerability, and the dynamics between Ollie and Felix were captivating. Jacob Elordi's portrayal of Felix added a charming yet sinister layer to the film, while Rosamund Pike stole every scene she was in, with her sharp, cutting one-liners and magnetic presence. The trio really made this darkly comedic, disturbing narrative come to life in a way that kept Winny hooked.

Willow, Amy, and Tails had mixed feelings. While Willow acknowledged the strong performances, he felt the pacing and some of the shocking scenes were a bit of a distraction. The film seemed to drag at points, and some of the more intense moments felt jarring rather than adding to the tension. Amy agreed, noting that while the film's exploration of obsession and class was fascinating, some of the more shocking moments-particularly the controversial sex scenes-took away from the overall tone. Tails was also caught off guard by some of the film's twists, which seemed overly melodramatic at times.

Mimikyu, however, found herself genuinely squeamish throughout the film. The brutality of some scenes made her feel uneasy, and she couldn't shake the discomfort they left behind. While she appreciated the dark, twisted elements of the plot, the graphic content was a bit much for her, leaving her feeling more repulsed than intrigued at certain points.

Sweet, on the other hand, appreciated the aesthetic side of Saltburn, praising the cinematography and the production design. The rich, opulent mansion and the meticulous visual storytelling helped to elevate the film's critique of privilege and social media superficiality. He felt that while the film's technical aspects were strong, the narrative and character development were lacking in some areas. Sweet found himself longing for a deeper exploration of the characters' inner lives, especially Ollie's motivations, which were only partially explored.

At the end of the day, Saltburn is an ambitious, darkly comedic film that forces viewers to grapple with uncomfortable truths about societal norms, ambition, and the desire for status. While the performances and production values are outstanding, some of the pacing issues and narrative choices may leave some viewers feeling disconnected. For us, Saltburn lands at a 7/10-it's a film worth watching for its dark humor and provocative themes, but it may not resonate with everyone in the long run.

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.

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.