Achieving provocative and visually shocking imagery on screen is a recipe for divisiveness. Since moviegoers tend to visit the theater with a set idea of how they expect a story to unfold, deviating into the twisted, unconventional or uncomfortable can sometimes flatten the experience. We witness this frequently with horror movies; even the most critically acclaimed entries garner mixed reactions from audiences.
“Saltburn,” while not a horror film, doesn’t pull its punches. Emerald Fennell’s follow-up to her directorial debut and Oscar-winning script, “Promising Young Woman,” shares a similar disturbing allure. When I heard the initial buzz surrounding the film, including comparisons to Damien Chazelle’s “Babylon” — a film that spawned audience division — my excitement skyrocketed. Unfortunately, “Saltburn” fell short of my lofty expectations.
Where Chazelle effectively meshes chaotic, suggestive material, breathtaking visuals and substance, Fennell opts for aesthetics and shock value. Despite its intoxicating cinematography, fantastic ensemble and intriguing premise, “Saltburn” is emotionally shallow, capped by a truly baffling plot twist. While it’s by no means a bad movie — I don’t think any film this beautiful could be considered as such — I was left wanting more from the experience.
The plot follows a student named Oliver Quick (Barry Keoghan) struggling to find his place at Oxford University. He encounters and befriends the charming and aristocratic Felix Catton (Jacob Elordi), who invites him to Saltburn, his eccentric family’s sprawling estate, for a summer of luxury. Oliver quickly adapts to his surroundings, forming unique relationships with Felix’s family. Amid steamy confrontations, lavish parties and deception, things quickly go awry.
It’s a promising set-up and makes for some entertaining character dynamics and devilish surprises, but the execution doesn’t quite reach its potential. The central relationship between Oliver and Felix should have been the film’s heart. Instead, the film deviates from their friendship and juts out in wild directions. The first big twist was well done and proposed challenging ideas about Oliver’s character. The second twist, however, essentially negates everything that comes before it, flipping the entire film on its head and removing any ounce of substance. The message goes from “extreme wealth is corrupting” to nothing whatsoever.
Keoghan is unsurprisingly excellent in the lead role, doing what he does best: playing a freaky little guy. It’s a relatively reserved performance, with Oliver lurking around the estate and subtly infecting the Catton family like a parasite. Keoghan dips into some extremely bizarre moments but sells them well. His efforts in the final scene are deeply outrageous, and I commend his commitment.
Elordi does a great job of capturing Felix’s enchanting aura, drawing in Oliver along with the audience. He’s charismatic and likable but doesn’t get much opportunity to develop. If Fennell further emphasized Elordi and Keoghan’s curious relationship, an emotional payoff might have been possible.
The supporting cast is a fun mix of personalities topped by Rosamund Pike and Richard E. Grant as Felix’s kooky parents, Elsbeth and Sir James Catton. Pike is pretentious, fast-talking and somewhat dim, delivering some of the film’s funniest lines. It’s clear she’s having an absolute ball inhabiting this wealthy matriarch. Grant is happy-go-lucky and aloof, contrasting sharply with the other characters. Alison Oliver as sister Venetia Catton and Archie Madekwe as cousin Farleigh Start turn in disruptive, inhibiting performances.
Despite its sharp turns and confused messaging, “Saltburn” is consistently stunning. Cinematographer Linus Sandgren — Oscar winner for “La La Land” — shows he’s one of the best in the game. There isn’t a single frame in this movie that doesn’t impress. The summertime skies are tinted by a nostalgic graininess, and the foggy nights are brightened by perfect lighting. Every close-up and long shot is meticulously designed to be aesthetically pleasing. The majestic gothic estate felt lived in and entrancing, making it easy to forget its modern-day setting. Even with flaws, if a film looks as good as “Saltburn,” I will be seated.
Opting for shock value over emotional substance, featuring gorgeous visuals and captivating performances and concluding with a puzzling twist, Fennell’s sophomore entry is a mixed bag. “Saltburn” is a beautiful mess.
