Saltburn

It shares a propensity for treating its characters more as moveable, quippy pawns than as real people, a problem that the strong actors can only do so much to fix.

A weird, intense movie that has the courage of its convictions.

The performances are acerbic... Pike's Elspeth is brilliantly cracked.

The power of Barry Keoghan’s center-ring performance cannot be adequately over-praised.

The sexual groveling of Oliver is akin to the social groveling of anyone who worships the ultra rich simply for being rich.

Mr. Keoghan has an uncanny ability to come across as shifty and devious even in repose, and his performance is the key to the movie.

Saltburn, through its portrayal of Oliver, asks the middle class to look at themselves and what’s really driving their anti-rich sentiments.

Emerald Fennell’s second feature goes further than you’d think and finally twists the knife in your side, but you can’t help but be entertained.

Saltburn is a poignant satire of our society: from privilege to class struggle, the film highlights important issues we are more than familiar with today and points out the inherent contradictions within our world

In fully utilizing its stylish flare and top-class performances, the film desperately attempts to mask the fact that it’s simply a rehash of class examination that never even manages to formulate an argument for its motives.