Saltburn (2023)
Director: Emerald Fennell
Screenwriter: Emerald Fennell
Starring: Barry Keoghan, Jacob Elordi, Rosamund Pike, Richard E. Grant, Alison Oliver, Archie Madekwe, Carey Mulligan

With the release of her debut feature film Promising Young Woman in 2020, Emerald Fennell established herself as one of the most exciting directors working today. Her candy-pop infused, #MeToo-inspired revenge thriller provoked challenging discussions and introduced the world to Fennell’s fresh voice and unique talents. With her sophomore effort Saltburn, can lightning strike twice?

The film opens at the beginning of the 2006/07 academic year as Oliver Quick (Barry Keoghan) enrols at Oxford University. Though Ollie struggles to make friends at first – hilariously summed up in the trailer by Ewan Mitchell’s great line “Did you know there was a college Christmas party tonight? NFI, me and you. Not fucking invited” – he quickly finds himself under the wing of charming and aristocratic Felix Catton (Jacob Elordi). Before long, Catton invites Ollie to stay with him over the summer at his eccentric family’s sprawling estate, Saltburn.

The title card of the picture finds itself scribbled across the film’s 4:3 frame, like the graffiti you’d find sprawled over an old school textbook. Immediately, with this simple design choice, Fennell sums up the schoolboy immaturity of many of the characters; they think the world revolves around them but really their problems are the sort of issues you’d find on the playground, and they hold onto their grudges forever. What makes it so terrifying, as their placement as the elite in society shows, is that these are the people who hold power. The ones that make the rules for everyone else yet don’t abide by them (a very funny karaoke scene in the film seems to poke fun at a very real example of this in recent British politics), the kind of people who don’t need to worry financially. There is maybe even something to be said about the latter point with regard to the film’s setting in 2007, right before the climax of the 2007–2008 financial crisis. 

Making up this abhorrent and aberrant family are an unforgettable cast of characters made up of the airhead family patriarch Sir James (Richard E. Grant), the oblivious family matriarch Elsbeth (Rosamund Pike), Felix, his siren-like sister Venetia (Alison Oliver) and their cousin Farleigh (Archie Madekwe), a particularly mischievous jester-like character that entertains the whole family. Oh, and let’s not forget the ludicrously melancholic “Poor Dear” Pamela (Carey Mulligan). All of whom are portrayed wonderfully by each respective actor, often delivering hilarious comedic performances with such an immense depth to them that not only do they make us laugh but they offer a scarily accurate portrayal of the type of people we allow to control our world.

The loathsome behaviour and elitist thinking of each character is introduced very early on. This is perhaps best exemplified by Oliver’s first meeting with his tutor, in which he is essentially mocked for having completed the summer reading, rather than celebrated for his hard work. All the while Farleigh, who is twenty minutes late, gains the respect of the tutor due to his family name and the power that it holds. In this world, status beats out hard work every time. Equally so, the first time Oliver and Felix officially meet, Felix’s bike has a puncture and Oliver offers him his bike so that he can make it to class even though it is clear that Felix really wasn’t doing much to even attempt to fix his bike. Felix was raised to believe that all of life’s problems would be solved for him. 

In spite of all this, Oliver can’t help but to find himself seduced by their lavish lifestyles, just as we can’t help but to be tempted by the Catton family, leading to both us and Oliver finding ourselves entangled in their web. It is in the way that the film is shot that allows Fennell to seduce us so easily. Shooting the stately home as though it were a fetish object, Fennell captures the alluring nature of such a home in the most perfect way that it becomes clear why anybody who enters would never wish to leave again. 

Saltburn doesn’t produce a product that simply delivers a message of the evils of privileged high society, but instead delivers them as fully fleshed out humans of both good and bad doing. Just as Felix may be a spoilt brat he is also by far the most understanding of the family and the one who is constantly generous to Oliver for little reason other than genuine kindness. Jacob Elordi captures this in his layered performance as Felix, bringing a charm and charisma to the character as well as a childish nature.

Instead, Saltburn shows the evils of desire and the lengths that many will go to in order to get what they want. In the game that is Saltburn, everybody wants something and they are all playing against each other to get it. It’s like ‘Succession‘ for the ‘Skins’ generation.

Though it is certainly an ensemble piece and one in which each performer must be nothing short of brilliant in order to make the world of the movie work, the story really rests on the shoulders of lead actor Barry Keoghan. He, along with Fennell’s wonderful direction, brings Saltburn to life. As the film progresses and it is Oliver who becomes the desirable object, things begin to get interesting and Keoghan’s portrayal of this journey is nothing short of spectacular. Not only does he capture the growth and progression of his character with precision, but with each new scene he brings something a little different, making Oliver’s evolution all that more interesting. Come the end of the film, once Oliver has transformed into his final form, it is clear that what we have just witnessed is a special performance that will linger in the mind for years to come.

Deciding which of Fennell’s two feature films is better will inevitably come down to a matter of taste. For some, one message will hit harder than the other, but for others the pacing and structure will leave a lasting impact. It all comes down to the individual. What is clear, however, is that Emerald Fennell is one of the most exciting directors working today and Saltburn marks the second successive masterpiece in her short but impactful career.

Saltburn is a seductive odyssey of lust, desire and betrayal that plays out like a Shakespearean episode of ‘Skins’, with a slight dash of ‘Succession’. Perhaps just as importantly, it does for Sophie Ellis-Bextor’s “Murder on the Dancefloor” what Promising Young Woman did for Paris Hilton’s “Stars Are Blind”. Emerald Fennell has done it again.

Score: 23/24

Of course, for any movie critic, there are films that rise above the rest. I have chosen ten films that have shaped me as a person and made this world a creepier, scarier, funnier, and more interesting place to live. These are my 10 Best Films of All Time.

Follow me on X (Twitter) – @emii_grant

10. Coraline (2009)

Are you a child looking to dip your foot into the wonderful world of horror? Coraline is a great place to start.

The film is as magical as it is scary – an impressive boast for a film with a PG rating.

Coraline Jones marches us through worlds we could have never imagined and somehow even makes rats feel ethereal and otherworldly. 

9. Gone Girl (2014)

“Cool girl is hot. Cool girl is game.” While “cool girl” status isn’t attainable, watching Gone Girl and memorizing the infamous monologue gets you part of the way there.

Perfectly cast with Rosamund Pike as a psychotic and whip-smart writer, Amy, and Ben Affleck as her sloppy, loser husband, the two are a match made in hell.

As feminist as it is deranged, Gone Girl will keep you enthralled whether it’s the first time or the hundredth time you’ve watched the film. 

Recommended for you: David Fincher Movies Ranked

In a ceremony hosted simultaneously from New York City and Los Angeles by Tina Fey and Amy Poehler, the delayed 2021 Golden Globes took on a unique, socially distanced look for the first time, with awards announced in a socially distanced studio setting and presented to the winners via live video call.

In film, 15 awards were handed to the best of the best in their respective categories, with the headline winners being the recently deceased Chadwick Boseman in the Best Actor – Drama category and Chloé Zhao, who became just the 2nd woman to ever win the Best Director Golden Globe. There was also a celebration of the life, career and contributions to cinema and television of Jane Fonda, who was awarded the Cecile B. deMille (lifetime achievement) award for contributions across 7 decades.

The HFPA had been the source of much controversy in the build-up to the awards after it was revealed that the association of 87 “foreign” (to the United States) journalists did not have one single black member. In addition, reports from the LA Times suggested that some members of the association were flown to Paris by Netflix and received payments in the region of $2million from the streaming giants ahead of the Globes’ surprise nominations for ‘Emily in Paris’ in the television categories. In one segment, Association members took to stage to recognise they had done wrong and promised to change.

Traditionally, the Golden Globes have proven to be a strong indicator for future awards shows, and with that in mind here are the winners in film for the 2021 Golden Globes…

BEST MOTION PICTURE – DRAMA – NOMADLAND
The Father
Mank
Promising Young Woman
The Trial of the Chicago 7

BEST MOTION PICTURE – MUSICAL OR COMEDY – BORAT SUBSEQUENT MOVIEFILM
Hamilton
Music
Palm Springs
The Prom

THE CECILE B. DEMILLE (LIFETIME ACHIEVEMENT) AWARD – JANE FONDA

BEST DIRECTOR – CHLOE ZHAO (NOMADLAND)
Emerald Fennell (Promising Young Woman)
David Fincher (Mank)
Regina King (One Night In Miami)
Aaron Sorkin (The Trial of Chicago 7)

BEST ACTOR – DRAMA – CHADWICK BOSEMAN (MA RAINEY’S BLACK BOTTOM)
Riz Ahmed (Sound of Metal)
Anthony Hopkins (The Father)
Gary Oldman (Mank)
Tahar Rahim (The Mauritanian)

BEST ACTRESS – DRAMA – ANDRA DAY (THE UNITED STATES VS. BILLIE HOLIDAY)
Viola Davis (Ma Rainey’s Black Bottom)
Vanessa Kirby (Pieces of a Woman)
Frances McDormand (Nomadland)
Carey Mulligan (Promising Young Woman)

BEST ACTOR – MUSICAL OR COMEDY – SACHA BARON COHEN (BORAT SUBSEQUENT MOVIEFILM)
James Corden (The Prom)
Lin-Manuel Miranda (Hamilton)
Dev Patel (The Personal History of David Copperfield)
Andy Samberg (Palm Springs)

BEST ACTRESS – MUSICAL OR COMEDY – ROSAMUND PIKE (I CARE A LOT)
Maria Bakalova (Borat Subsequent Moviefilm)
Kate Hudson (Music)
Michelle Pfeiffer (French Exit)
Anya Taylor Joy (Emma)

BEST SUPPORTING ACTOR IN A MOTON PICTURE – DANIEL KALUUYA (JUDAS AND THE BLACK MESSIAH)
Sacha Baron Cohen (The Trial of the Chicago 7)
Jared Leto (The Little Things)
Bill Murray (On the Rocks)
Leslie Odom Jr. (One Night In Miami)

BEST SUPPORTING ACTRESS IN A MOTON PICTURE – JODIE FOSTER (THE MAURITANIAN)
Glenn Close (Hillbilly Elegy)
Olivia Colman (The Father)
Amanda Seyfried (Mank)
Helena Zengel (News of the World)

BEST SCREENPLAY – AARON SORKIN (THE TRIAL OF THE CHICAGO 7)
Emerald Fennell (Promising Young Woman)
Jack Fincher (Mank)
Florian Zeller, Christopher Hampton (The Father)
Chloé Zhao (Nomadland)

BEST ORIGINAL SCORE – TRENT REZNOR; ATTICUS ROSS; JOHN BATISTE (SOUL)
Alexandre Desplat (The Midnight Sky)
Ludwig Göransson (Tenet)
James Newton Howard (News of the World)
Trent Reznor; Atticus Ross (Mank)

BEST ORIGINAL SONG – “IO SI (SEEN)” (THE LIFE AHEAD)
“Fight For You” (Judas and the Black Messiah)
“Hear My Voice” (The Trial of the Chicago 7)
“Speak Now” (One Night In Miami)
“Tigress & Tweed” (The United States vs. Billie Holiday)

BEST ANIMATED FEATURE – SOUL
The Croods: A New Age
Onward
Over the Moon
Wolfwalkers

BEST FOREIGN LANGUAGE FILM – MINARI
Another Round
La Llorona
The Life Ahead
Two of Us

The World’s End (2013)
Director: Edgar Wright
Screenwriters: Simon Pegg, Edgar Wright
Starring: Simon Pegg, Nick Frost, Martin Freeman, Paddy Considine, Eddie Marsan, Rosamund Pike, David Bradley

2013’s The World’s End has been cited by some fans as the most disappointing entry in the Cornetto Trilogy despite a positive reception from critics who welcomed it just as favourably as Shaun of the Dead and Hot Fuzz. Coming 6 years after the trilogy’s middle entry, The World’s End acts as the culmination of the miniature series of Pegg, Frost and Wright collaborations, offering yet more reoccurring gags and winks for fans, with plenty for new new viewers to digest. It recounts a quintet of school friends, led by Simon Pegg’s Gary King, as they attempt to finish a pub crawl known as The Golden Mile they had attempted some twenty-plus years prior, encountering some otherworldly obstacles en-route.

One of the film’s major strengths is the way in which it flips the leading roles of the two previous films on their head. On this occasion Nick Frost plays the uptight, professional and reluctant straight-man to Pegg’s man-child, the latter firmly longing for his adolescent years. This change in roles does little to nullify the chemistry of the two leads who, by this point, are so in tune that they hit every single mark and establish a relateable leading duo even after 6 years apart. Martin Freeman as Oliver is also cast against type as a stone faced estate agent, a far cry from his roles as Bilbo in The Hobbit and Tim in ‘The Office’. The other two members of the central quintet are famed British talent Paddy Considine (who of course featured in Hot Fuzz) and Cornetto newcomer Eddie Marsan (Filth).

As with the two previous entries in the Cornetto Trilogy, there is an assortment of guest stars including standouts Pierce Brosnan, Rosamund Pike and David Bradley, with a further selection of familiar faces strewn across the 12 pubs visited, including (as always) some of the cast of Wright and Pegg’s cult TV sitcom ‘Spaced’.

The 6 year gap between the films, which saw Pegg and Wright establish themselves as some of Hollywood’s go-to filmmakers on the likes of Star Trek and Mission: Impossible (Pegg), and Scott Pilgrim vs. the World (Wright), was one of the major drawbacks for The World’s End at launch as it led expectations to be at a high level amongst fans. It is difficult to note whether the gap (in terms of time and expectation) affected the film’s box office haul, which was just over half of what Hot Fuzz made, but in terms of audience reception there must be some consideration made towards the high levels of expectation the duo brought with them into this film.

As was the case with the previous Cornetto movies, The World’s End once again treated us to some inventive action sequences, including the trademarked pub fight. The standout here was perhaps the brawl in the pub toilet, which proved to be imaginative and enthralling, and nicely contrasted the style of action seen in Hot Fuzz.

Thematically, The World’s End has plenty to say and is without question the most sobering of the Cornetto films. It offers commentary on the “Starbucking” of UK towns as many of Newton Haven’s pubs have been bought out by chains and have lost their unique qualities, with a recurring comment being whether it is our quintet or their childhood town that has changed the most. Another of the main themes is letting go of the past and any disappointment one might feel about how life has turned out, Gary commenting that his life was never as good as the night they first attempted the Golden Mile. The film also offers insight into life in a small town and the nature of a lads’ night out. Meanwhile, the surprising addition of an alien invasion thread proves to be satisfying and gives the premise a welcome breath of fresh air.

A great soundtrack is one of the hallmarks of the whole trilogy and music plays arguably its most prominent role in its finale. A particular emphasis is placed on 90s Britpop which reflects the group’s at-the-time burgeoning adulthood with tracks from the likes of The Stone Roses, Pulp and The Happy Mondays. In keeping with the pub crawl theme, several of the tracks including The Doors’ “Alabama Song (Whiskey Bar)” and The Housemartins’ “Happy Hour” are nods to the film’s alcohol-fueled plot-line.

The World’s End does, overall, round the trilogy off in fine fashion. It is more of a slow burner than its two predecessors, building suspense and a sense that something is not quite right with the residents of Newton Haven, the audience and characters alike being teased for longer than before, and the slow build isn’t to everyone’s taste, but the contrasts to the previous entries tonally and character- wise bring added depth and ensure the film never feels formulaic or repetitive. In The World’s End, we are offered more of a varied glimpse at the acting chops of Simon Pegg and Nick Frost as well as some strong support from the core cast. Perhaps the film will be viewed in a more positive light in the years to come and step out of the shadow of its two siblings to take on a life of its own, but for now it remains an underappreciated entry into the canon of the Cornetto films and Edgar Wright’s wider filmography.

Score: 17/24

What We Did on Our Holiday (2014)
Director: Andy Hamilton, Guy Jenkin
Screenwriters: Andy Hamilton, Guy Jenkin
Starring: David Tennant, Rosamund Pike, Billy Connolly, Ben Miller, Amelia Bullmore, Lewis Davie, Emilia Jones, Bobby Smalldridge, Harriet Turnbull

Movie advertising can make or break a film. The film trailer plays a very distinct role in giving each of us a sample of whichever movie it’s promoting in order to aid our decisions regarding future movie outings. Whilst What We Did On Our Holiday was a financial success, it’s rather apparent that it was marketed as something completely different to what it was – the trailer promoting a cute and quirky film that promises “fun for all the family”, and the film being something truly quite different.

As the saying goes… never judge a book by its cover. 

What We Did on Our Holiday follows the McLeod family travelling up to the Scottish Highlands from London to celebrate Grandfather Gordie’s (Billy Connolly’s) seventy-fifth birthday. Although Mum and Dad, Abi (Rosamund Pike) and Doug (David Tennant), are getting divorced and won’t stop fighting, they encourage the children to lie so as to not upset their Grandfather who is ill with cancer. All the while, the McLeod family must share the house with Doug’s stingy brother Gavin (Ben Miller), his anxious wife Margaret (Amelia Bullmore) and their son Kenneth (Lewis Davie), who is clearly oppressed by the strict nature of his parents.

Uniquely, What We Did on Our Holiday plays out from the point of view of the children, which is an excellent choice that makes this feature particularly distinctive. Not only does it make for some truly hilarious perceptions of situations, but it also allows the film to tackle many dark subject matters with a lighthearted approach. Knowing that it’s children dealing with these problems and situations also brings an emotional weight that the film could not have achieved if simply shown through the eyes of the adults.

The McLeod family dynamic is reminiscent to that of the Brockman family from ‘Outnumbered’ (no surprise considering Andy Hamilton and Guy Jenkin created the show), but the chemistry between each family member, as well as each character’s individuality, gives space for the family to remain original in their own right. Vital to this are Pike and Tennant who play their roles brilliantly, each proving why they are held in such high regard within British media, but perhaps most impressive are the performances of the children Lottie (Emilia Jones), Mickey (Bobby Smalldridge) and Jess (Harriet Turnbull), some of whom were performing in their first feature film roles. Each young actor provides excellent comedic timing as well as surprisingly good character work. It is clear that Hamilton and Jenkin’s experience of working with children on ‘Outnumbered’ meant that they were able to get the best performances possible from the three children. 

Perhaps most impressive about What We Did on Our Holiday is the balance that the directors find between each of the characters and the many different stories throughout the film. There are nine central characters in total, all of whom have individually compelling stories which come to satisfying and natural conclusions. Juggling so many arcs with such gusto is an impressive feat for the directorial duo who did so while building nothing less than an enjoyable and unpredictable film overall.

The directors’ jump from television to film is largely, then, a terrific success, though it notably does come with its cons – the cinematography being the film’s biggest issue, What We Did on Our Holiday looking more like a TV show than a feature film. This makes for a noticeable diversion from cinematic norms, but one that is perhaps forgivable given the intricacies of the story told. That is, until the finale at least…

Much less forgivable is What We Did on Our Holiday’s happy ending, which up-ends the entire direction and momentum of all that has come before it, blasting a loud and out of tune horn just as the orchestra hits its crescendo, the entire film falling flat despite fantastic work earlier in the narrative. It’s a less than favourable way to depart characters that have truly embedded in your mind by this point, but one that understandably wishes to instill some hope for characters the filmmakers themselves hope that you have learned to love.

Overall, What We Did on Our Holiday is a massive surprise, one that steers far away from its shoddy marketing and smashes through audience expectations to create a fun, heartwarming film that everyone can enjoy. It’s not quite the movie smash hit the duo’s show was on TV, but it’s a lot of fun nonetheless.

18/24

Written by Mark Carnochan

You can support Mark Carnochan in the following places:

Twitter – @MarkJurassic

With every new video game to get the Hollywood treatment, fans the world over collectively clasp their hands, drop to their knees, and pray to the movie gods that this one will break the curse and deliver a film worthy of their blistery-thumbed affection.

In a world of cash-ins and missteps, there are few video game inspired film releases that can even be considered passable, but we’ve scoured movie studios big and small in an attempt to find some anyway.

So join us, as we insert a coin into the video game movie machine, hit Start Game, and count down the top ten video game movies of all time.

10. Doom (2005)

Before you go blasting everything in sight with a fully loaded BFG 9000 (big f**king gun for the uninitiated) because Doom has eked its way into this top ten video game movies list, there are a few redeeming features worth mentioning about this Dwayne Johnson starring brain-dead Shoot ‘Em Up.

Brought in to investigate a distress call from a Martian (yes, a Martian) research facility, a group of hardened marines use an ancient portal to travel to the Red Planet and find themselves facing off against hordes of hellish genetically engineered monsters.

On paper, it sounds like the greatest movie of all time, and a star-studded cast consisting of Dwayne ‘The Rock’ Johnson himself, Karl Urban and Rosamund Pike all try their best to elevate what little material they’re given, but a few solid action beats and jump scares can’t quite save this mutated mess from entering movie hell.

All ammo and no brains, this trigger happy actioner is worth a watch if only for the futuristic Nano door and game-accurate first-person sequence.

9. Silent Hill (2006)

Trying to recapture the survival horror aspects of its video game counterpart, Silent Hill threw audiences into an eerie, haunting world filled with nightmarish creatures and pyramid-headed monstrosities, not to mention some truly freaky looking nurses.

When a mother and daughter find themselves in the altered reality of an abandoned mining town, it’s a race against time for Rose (Radha Mitchell) to find her missing child and uncover the mystery of the town’s fateful end.

It might have a paper-thin plot and be lacking in developed characters, but Silent Hill is a visual treat, offering fans of the game a faithful rendition and providing some well thought out horror beats along the way.

8. Prince of Persia: The Sands of Time (2010)

Jake Gyllenhaal plays Dustan, a Persian street urchin (think Boy Band Aladdin), who is falsely accused of killing the king of Persia (and his adoptive father) by the evil Sir Ben Kingsley. Luckily though, Dustan comes into possession of an ancient dagger with the ability to manipulate time, allowing him to rewind certain events, save the world and hook up with the feisty princess of Alamut played by Gemma Arterton.

As game-to-movie adaptations go, this one is certainly one of the more entertaining entries on the list (Gyllenhaal’s whitewashing, notwithstanding), and provides just enough fun fantasy-adventure without getting completely buried in the sand. With a little too much reliance on special effects and not enough on plot and character, Prince of Persia is a goofy albeit entertaining piece of disposable cinema.

7. Assassin’s Creed (2016)

When present day criminal Cal Lynch (Fassbender) learns he is the descendant of a 15^th century assassin, known as Aguilar, his mind is used to unlock the memories of his ancestor and help the Abstergo Foundation find the magical ‘Apple of Eden’ which can control free will.

Assassin’s Creed was Hollywood’s attempt to take video game movies out of the fan-only genre market and make them truly mainstream. Going out of their way to cast Oscar calibre talent in Marion Cotillard, Michael Fassbender and Mickael K. Williams, the hugely popular game series was looking like a real contender to not only be an all-time great video game movie, but a great movie altogether.

Unfortunately, things didn’t pan out quite so cushty. The film was met with criticism, citing an overly complicated plot, unlikable characters and a general lack of excitement (all of which were not features of the game).

Still, there is some fun to be had with the cool action sequences set in 15^th century Spain.

6. Final Fantasy: The Spirits Within (2001)

While the awe-inspiring computer graphics of the time may not quite hold up with today’s CGI blockbusters, Final Fantasy: The Spirits Within is still a beautiful looking animation, and one that dared to stray from its video game roots, providing the world with a more thoughtful game-to-film experience.

The film follows Dr Aki Ross as she tries to save the Earth from mysterious alien beings with the ability to kill any human with just the slightest touch (Phantoms). It’s up to Ross and a team of marines to find out what the Phantoms want, and how to save the human race from extinction.

An all-star cast lend their voices to this fun Final Fantasy inspired, rather than adapted, version of the global hit video game – a movie that pushed digital graphics to their limit and paved the way for future CGI film making.