SALTBURN – Review by Susan Granger

After Promising Young Woman (2022), Emerald Fennell’s auspicious writing/directing debut, her audacious second feature Saltburn is a disappointment. Set in 2006, it’s a twisted, kinky, social-climbing satire revolving around Oliver Quick (Irish actor Barry Keoghan), a guileless ‘scholarship’ Oxford undergrad who cleverly befriends handsome Felix Catton (Jacob Elordi), an aristocratic yet surprisingly compassionate classmate. According to Oliver’s tragic backstory, his parents suffered addiction/mental health problems before his father’s recent death – which is why it’s so important to him to wangle an invitation to spend the summer at Catton’s family’s Baroque country estate called Saltburn.

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MOVIE OF THE WEEK: Best 2023 Awards Contenders

2023 has been a brilliant year for movies and an astonishing number of outstanding films representing all genres are now vying for awards consideration. There are so many top titles that if you were to watch movies from dawn to dusk for this quiet week between Christmas and New Year’s Day — without taking a break — you probably couldn’t manage to view all of the serious awards contenders. So, with this week’s Movie of the Week feature, we are recommending titles picked by Team MOTW members — titles that they say must be seen before the awards shows so you will be prepared to enjoy all of the awards season’s buzz and shine in social media opining and chatter around the watercooler. These are our must see films and we’ll wager that once you see them you will want to see them again. Happy holiday week viewing!!!

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SALTBURN – Review by Nadine Whitney

Emerald Fennell’s baroque psychosexual thriller wants you to have fun. There are lines that are spun with a golden malice. She has no pity for the upper crust and delights in displaying how insular they are and how easily they wield their wealth and titles. Their peccadillos are supposed to be transgressive, but in effect they are just the result of bored rich people needing their fix from extending a form of noblesse oblige.

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SALTBURN – Review by Diane Carson

Saltburn satirizes the ultrarich in 2006 England. How can a scholarship student at posh Oxford University, England, possibly fit in or relate to his privileged, silver-spoon-in-their-mouths classmates? In writer/director Emerald Fennell’s Saltburn, set in 2006, that’s the dilemma for poor Oliver Quick who looks as drab as others find him. But he has one advantageous attribute, i.e., he watches carefully and assesses individuals astutely.

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SALTBURN (Middleburg FF 2023) – Review by Leslie Combemale

From the moment the crimson red, Hammer horror-inspired opening titles show onscreen, the film warns it will not be your usual British uni coming of age story. It wouldn’t be, would it, given that it comes from Emerald Fennell, who brought us Promising Young Woman? That movie, Fennell’s feature debut as writer/director, won her a Oscar for Best Original Screenplay, and speaking of promise, made audiences and critics frothy to see what she’d do with her sophomore feature. Though not nearly as original as her first, Saltburn, a sexually transgressive tale of privilege and the desire to belong, allows its lead performer to shine brighter than a diamond encrusted dagger.

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WEEK IN WOMEN: Emerald Fennell’s SALTBURN set for holiday release – Brandy McDonnell reports

Oscar-winning writer-director Emerald Fennell will help kick off the cinematic holiday season when her Saltburn bows into theaters in limited release on Nov. 24, which is Black Friday. It will expand to additional theaters Dec. 1. Hailing from MRC Film and Amazon Studios, “Saltburn” also will reunite Fennell with two-time Academy Award nominee Carey Mulligan, who starred in Fennell’s 2020 feature film directorial debut Promising Young Woman.

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SALTBURN – Review by Serena Seghedoni

Emerald Fennell’s Saltburn is a wickedly subversive, exquisitely twisty character study that leaves no room for redemption and satisfying resolutions, and that’s the real genius of it. Fennell defies our expectations and delivers a clever character study disguised as an “eat the rich” satire, where everyone is a horrible person and absolutely deserves what they get.

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