User reviews

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.

The movie was quite enjoyable, albeit slightly too ambitious. It seemed to struggle in balancing between an aristocratic setting, lacking the depth found in works like 'Brideshead Revisited' or Alan Hollinghurst's 'The Line of Beauty', and a psychological thriller aspect, which, while entertaining, came across as overly sensational and somewhat lacking in credibility. At times, the plot developments were so outlandish that they were more amusing than serious. Saltburn was on the verge of being a masterpiece with its wealth of excellent content. It's still a worthwhile watch, despite some superficial elements and a feeling that Fennell and the screenwriter didn't fully explore their characters, choosing sensationalism instead. Quick's portrayal of a sociopath was intriguing yet not entirely convincing, but the film was still an enjoyable experience overall. It has more strengths than weaknesses.

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.

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.

I'd read reviews, heard opinions but thought I'd watch it for myself and I loved every minute. The acting from all was first class and the guy who played Oliver deserves an Oscar. Totally mesmerising performances throughout.

The story telling, direction, cinematography and script were perfect.

This is not for the faint hearted or easily offended but for those of us who have worked in mental health for 27 years it was the story of a genuine Sociopath who destroyed everyone around him and for what?

I actually didn't want it to end.

Towards the end it became very moving and the last scenes were just plain bonkers but so realistic of someone's behaviour with this disorder.

Well done to all. An absolute masterpiece.

This is no ordinary movie. I liked it because it is strange, intriguing. At first, I thought I had seen it before because some scenes are similar to other films, but the script is interesting, the dialogues well written. It has very disturbing scenes, unnecessary nudity. The final explanation seemed unnecessary to me (perhaps it was made for an unintelligent audience). Everything that is explained at the end anyone can easily imagine it.

I love it when I find a movie that makes me think and takes out of my comfort zone. I recommend it, although, if you're weak at heart, some scenes could disgust you. So be advised.

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.

Emerald Fennell leaps over any potential sophomore slumps with Saltburn, an immensely twisted tale of obsession and excess that's black comedy eventually goes into much darker territory. It's bold, provocative and just so funny, buoyed by a cast who completely understand the assignment and deliver glorious results.

Barry Keoghan gives a fearless performance, bearing all in more ways than one. His character is so fascinating, initially an audience surrogate that could've felt overly safe but his constant weaving in and out of control is a real highlight, making him so much more interesting and flawed.

Jacob Elordi is enchanting, he's so kind without a single care in the world and one of the few seemingly nice people in Saltburn though not without his own self obsessed flaws. Rosamund Pike and Richard E. Grant dial it up to eleven and get some of the best laughs.

Emerald Fennell and cinematographer Linus Sandgren craft a gorgeous film of vivid saturation and striking imagery (some of which cannot be unseen). Equally strong is Fennell's screenplay which is hilarious, almost every scene has at least one memorable joke or biting line of dialogue.

... or kind hearts and coronets goes large. An odd but not unentertaining offering from the makers of a promising young Woman; built though it is, with stuff we've seen many times, not least in the pages of both Waugh and Highsmith.

There is an ambiguity within this tale that kept me engaged and guessing almost to the films conclusion.

Unfortunately the last five minutes treatsi it's audience like an idiot child with an all too blatant reveal.

The performances are all pretty solid (maybe a little over praised in some quarters) with the central character Oliver probably most notable .

The film has been described as a black comedy in some reviews and I did chuckle once or twice but truth be told it nowhere approaches the wit and waspishness of its source materials.

PS: There are some controversial sex scenes that might offend anyone who was not once a teenage steelworker ensconced in rugby club culture.

Sometimes you come across a filmmaker whose works you just don't like. And now, after two features in, I can honestly say that about writer-director Emerald Fennell. I didn't care much for her debut outing, "Promising Young Woman" (2020), and I can say the same (and more) about her follow-up effort, "Saltburn." This alleged thriller about a seemingly awkward but quietly sinister Oxford student (Barry Keoghan) who ingratiates himself into a family of wealthy English aristocrats features a story and characters about whom, quite frankly, I couldn't care less. (Think "The Killing of a Sacred Deer" (2017) with a cast of eccentric old money cronies and a wolf in sheep's clothing.) This assemblage of utterly reprehensible characters living utterly reprehensible lives and zealously adhering to utterly reprehensible values fails to endanger viewer empathy, interest or even connection. Much of the narrative is predictable and glacially paced, incorporates sequences that are included for little more than forced shock value, features monodimensional and blatantly obvious (almost trite) character development, and frequently stumbles in attempts at humor that are wedged in largely for the sake of convenience or calculatedly timed comic relief. It's the kind of picture that prompts regular looks at one's watch to see how much more one must endure and delivers welcome sighs of relief when the end finally comes. What's more, given the combined talent pool for this production, it's a genuine shame to see the likes of Rosamund Pike, Carey Mulligan and Richard E. Grant relegated to supporting roles in which their abilities are sorely underused. And then there's the excessively hammy performance of Keoghan, who's quite obviously (and knowingly) acting and not disappearing into the bona fide portrayal of a character. In all, this offering feels like a picture that tries awfully hard to see how much it can get away with, especially when seeking to invoke dropped jaws among audience members, much as this director's cinematic predecessor attempted to do. Save your money, and don't waste your time on this vastly overrated release from a vastly overrated filmmaker.