Saltburn Review: Jacob Elordi's film is a dissection of Fennell's
Saltburn Review: Jacob Elordi's film is a dissection of Fennell's

Saltburn Review: Jacob Elordi’s film is a dissection of Fennell’s

We’ve reviewed Saltburn, the highly anticipated film directed by Jacob Elordi, for you to read before you decide to buy tickets. Proceed to read!

Rating for the film Saltburn: 2.5/5

The cast of stars: Carey Mulligan, Archie Madekwe, Rosamund Pike, Richard E. Grant, Barry Keoghan, Jacob Elordi, and Alison Oliver

Emerald Fennell directed the film.

What’s Good: Rosamund Pike brings a few sinister pleasures to the movie with her wonderfully rude portrayal of Felix’s mother, Elspeth. It’s a pleasure to have moments of mystery and entertainment thanks to Archie Madekwe’s portrayal of the evil Farleigh.

What’s Bad: The narrative meanders without a distinct sense of coherence, logic, or pacing as a result of Fennell’s careless screenplay and direction. The movie’s exploration of psychopathology comes across as clumsy and tedious. Even though it’s unrestrained, the climax leaves the audience feeling let down.

Loo Break: Due to the film’s 127-minute runtime, a break may be necessary at the 75-minute mark when the discomfort gets too much to bear and the story loses its genuine edge.

Should You Watch It?: Those who value Fennell’s distinct style and are prepared to put up with occasional confusion in exchange for twisted pleasures may find “Saltburn” appealing. Nonetheless, the movie might not live up to expectations for those looking for a cogent and emotionally impactful viewing experience.

Spoken: English

Accessible via: Theater release

Duration: 131 minutes

The film “Saltburn” by Emerald Fennell transports us to the interwoven lives of Oxford students Felix (Jacob Elordi) and Oliver (Barry Keoghan). Exploring themes of toxic elitism, lust, and envy, the film is set against the backdrop of Felix’s family estate, Saltburn. The story develops, showing the complexity of relationships within the wealthy and privileged circle of Saltburn as the characters traverse a summer full of deceit.

Review of Saltburn: A Script Analysis

Although Fennell’s screenplay aims to investigate themes of toxic elitism in the story, it is frequently executed in an unkempt manner. Character development and pacing are lost in the process of the film’s meandering plot, which lacks a clear and logical flow. The attempt to explore psychopathology is tedious and crude, falling short of providing an engaging and emotionally impactful examination of the characters’ experiences. Rosamund Pike’s Elspeth and Archie Madekwe’s Farleigh are two of the script’s sporadic perverse pleasures, and while they offer intriguing moments, they are insufficient to save the overall story from its jumbled structure.

The film’s shift into gothic mischief and Fennell’s over-reliance on styling and stunts obscure the possibility of a more in-depth examination of the subjects at hand. The film’s tendency to both enjoy and critique its subject matter, along with the difficulty of balancing these elements, creates tension that hinders the script’s effectiveness. The film attempts to examine complex relationships and societal issues, but it falls short of delivering a smooth and engaging story, giving viewers the impression that there are untapped storytelling possibilities.

Review of Saltburn: Standout Performance

Rosamund Pike’s portrayal of Felix’s mother Elspeth, who is brilliantly rude and captivating, is the standout performance. Pike’s skill at giving the character moments of depraved pleasure gives the movie an extra layer of mystery and provides a break from its jumbled story. Barry Keoghan’s character, Oliver, the movie’s main character, finds it difficult to make an impression. Keoghan’s attempt to incorporate elements from well-known characters like Tom Ripley, Patrick Bateman, and Norman Bates fails to produce a compelling and well-rounded performance. Keoghan tries his best to capture the complexity of Oliver’s character, but his portrayal suffers from not having a clear “there.”

The film’s moments of malevolent joy are enhanced by the supporting cast, especially Archie Madekwe’s performance as Farleigh. Although Madekwe’s portrayal heightens the sense of mystery, the story falls short of fully utilizing the character’s potential. There are hints of post-adolescent instability in the characters’ chemistry and dynamics, particularly in the Oxford setting. But the movie finds it difficult to make the most of these scenes, so the supporting cast members are somewhat overshadowed by the narrative’s general lack of coherence.

Even though Pike’s performance is a standout, Keoghan’s and the movie’s portrayal of the main characters lacks the complexity and coherence that would have elevated the star’s performance as a whole. The film’s overall narrative challenges limit the potential of the supporting cast, despite their occasional moments of interest.

Review of Saltburn: Direction, Scoring

The film “Saltburn,” directed by Emerald Fennell, primarily relies on stylistic decisions and music-video scenes to create a visually striking environment that alternates between fantasy and psychological suspense. The movie tries to strike a balance between a critique of toxic elitism and gothic mischief, but the execution frequently overshadows the depth of emotion it tries to express. It’s easy to see Fennell’s preference for unconventional storytelling and her own visual language in scenes that capture the unpredictability of the post-adolescent era. However, the film struggles to integrate these components into a cohesive story, which makes for a disjointed viewing experience.

The soundtrack of “Saltburn” is essential in establishing the mood of different scenes. The Pet Shop Boys’ “Rent” is included in a karaoke scene, and other thoughtful track selections add to the soundtrack’s contribution to the shifting mood of the movie. The film’s reliance on a music-video fantasia during the coda may be seen as unduly literal and cheeky, which lessens the overall impact, even though these musical selections enhance certain moments. The film’s dedication to a particular visual and tonal aesthetic is reinforced by Fennell’s choice to emphasize genuine opulence over a humorous examination of it.

The overall feeling of unrealized potential in “Saltburn” is reinforced by the film’s direction and musical selections, even in spite of its lavish visuals and inventive use of music. Although Fennell’s distinct style is obvious, the film’s inability to reconcile its stylistic decisions with its thematic goals leaves viewers desiring a more harmonious cinematic experience.

Review of Saltburn: The Final Word

We are left doubting Fennell’s storytelling technique after reading “Saltburn.” The visually stunning setting and sporadic moments of perverse pleasure are present, but the emotional resonance and narrative coherence of Fennell’s earlier work, “Promising Young Woman,” are absent. The film’s attempt to navigate complex relationships and analyze toxic elitism is unsuccessful, leaving viewers with a sense of unrealized potential.


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