Saltburn (2023) Comedy Movie Review

In this updated version of "The Talented Mr. Ripley," set in the mid-aughts, "Saltburn" is a captivating and wickedly entertaining film. Fennell, serving as both the writer and director, aims to entertain and provoke, successfully achieving these goals for a substantial part of the movie. However, similar to her previous work, "Saltburn" falters in its conclusion. The film extends about ten minutes longer than necessary, overly explaining the lead character's schemes instead of leaving room for a more impactful sense of ambiguity.

Barry Keoghan delivers a chilling performance as Oliver Quick, a scholarship student at Oxford University. Starting as a freshman, he gradually infiltrates the popular crowd, especially targeting the charismatic Felix Catton, played by Jacob Elordi. Keoghan, known for his eerie roles, seamlessly transforms to suit the moment. Oliver's desire to both be with Felix and become him is portrayed with impressive patience in his sociopathic strategy.

The tensions and manipulations escalate over the summer at Saltburn, Felix's family estate. The tour of the estate, orchestrated by Felix, unfolds smoothly, and Fennell introduces the privileged family in a humorous manner. Rosamund Pike shines as Felix's glamorous and melodramatic mother, Elspeth. Richard E. Grant portrays Felix's father, Sir James, in a sweetly shallow and childlike manner. Alison Oliver, as Felix's chic and tragic sister Venetia, delivers a memorable bathtub monologue. Carey Mulligan, from "Promising Young Woman," returns in a quietly hilarious role as the family's oblivious houseguest, Pamela.

The film's intrigue is heightened by Farleigh, who sees through everyone but keeps his observations to maintain his status. As tensions rise, the summer at Saltburn becomes a boiling pot of secrets and revelations, making for a captivating cinematic experience.

The captivating visuals, crafted by Linus Sandgren, the Oscar-winning cinematographer of "La La Land," lure us into a world of old-world opulence, gradually turning into a garish nightmare. Initially, the scenes entice us to indulge in the luxurious setting, with warm poolside days transitioning into elegant, alcohol-fueled nights. Oliver, the central figure, strategically targets his victims, leading to shocking and, for some, giggly moments involving bodily fluids that vividly reveal his primal depravity.

Amid lazy afternoons watching "Superbad" and sunny road trips with The Killers as the soundtrack, the tension builds as Oliver ingrains himself further into the scene. The anticipation of how this idyllic summer will unfold adds suspense to the narrative. Fennell, however, takes the story to a darker place than expected, explaining it explicitly after the viewing, which may seem unnecessary. Keoghan's disturbing portrayal of Oliver, with his lingering desires and desperate search for comfort in a careless world, is powerful enough without excessive explanation.

While Fennell doesn't offer a groundbreaking commentary on the differences among the wealthy, her sharp wit and irresistible style make the message engaging. If you're looking for a brief escape with biting humor, that might be sufficient.