by Diana Gebbia, Contributing Writer
Emerald Fennell’s Saltburn drips of wealth and excess, with its grand settings, performances, and cinematography. It’s a shame that the only thing it’s lacking is a strong storyline.
Saltburn follows unlikely pals, Oliver Quick (Barry Keoghan) and Felix Catton (Jacob Elordi). The two form a close friendship while at Oxford, despite their drastically different backgrounds. But once Felix invites Oliver to stay with his wealthy family at the titular English countryside estate, things take a bizarre turn.
The movie’s commitment to capturing the mood of the year 2006 is a huge strong point. An abundance of polo shirts, pre-smartphone cell phones, and perfectly side-swept hair throw audiences back to an iconic time in most millennials’ lives. That, along with music from MGMT and The Killers, is the perfect recipe for sweet nostalgia.
Saltburn’s first two acts are also a win. Fennell does a great job of introducing the main characters, giving us a feel for who they are. Even the most mundane moments, like when Felix and Oliver are lounging around a dorm room, are captivating.
Things get even more interesting once we get to Saltburn. The enormous estate’s wealth and history make it part of the cast of characters. It’s fun to watch everyone’s interactions with Saltburn, particularly Felix’s relaxed attitude about the manor compared to Oliver’s mesmerization.
Meeting the Catton family is very entertaining. Rosamund Pike is brilliant as Elspeth, the family matriarch. Her portrayal of the eccentricity and naivety that often comes with having an exorbitant amount of money is spot on. Alison Oliver shines as Felix’s bubbly and fun yet sharp and deep sister Venetia. And Richard E. Grant is the perfect choice for Sir James, head of the Catton family, who can’t seem to keep things under control, no matter how hard he may try.
Elordi and Keoghan’s performances should also be applauded. Elordi’s boyish charm is a reminiscent of everyone’s mid-00s crush. He’s warm and lovely, yet completely out of touch at times. Without giving too much away, Keoghan’s impressive range is highlighted throughout the film. It’s impossible to imagine anyone else playing his complex and multi-dimensional character.
The movie’s issues lie within the third act. Unfortunately, the plot becomes very predictable. Anyone with an ounce of media literacy can guess where things are headed. Fennell does herself a disservice by dragging out the film’s “twist” to the very end, similar to how Olivia Wilde does in Don’t Worry Darling. Had the big reveal happened sooner, more questions could have been answered. Moments that are meant to be shocking would feel more organic and earned.
Saltburn definitely feels Giallo adjacent, but there aren’t enough horror elements to file it under that category. Critiques about the lackluster twist could have been avoided by learning fully into the horror of it all.
Overall, Saltburn is enjoyable, and should be seen despite its shortcomings. If anything, it has audiences divided and talking — which is desperately needed after the crazy year its been for the film industry.
Rating: Liked It
Saltburn is currently playing in theaters
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