Director: Daniel Minahan
Cast: Daisy Edgar-Jones, Jacob Elordi, Will Poulter, Diego Calva, Sasha Calle
Screenplay: Bryce Kass
117 mins. Rated R for sexual content, nudity and some language.

On Swift Horses has developed a minor buzz due to its winning cast and old-school filmmaking with a twist. When it began, I was certain of a developing love triangle, and then there were more characters entering the mix, and this triangle became another shape entirely. On Swift Horses splits off into two distinct narratives, and there’s some inherent greatness, though it’s mostly reserved for one half of the story.

When Julius (Jacob Elordi, Saltburn) returns home from deployment, he meets up with his brother Lee (Will Poulter, Midsommar) and Lee’s wife Muriel (Daisy Edgar-Jones, Twisters). Their collective plan is to head out to California and set up a new life for the three of them, but Julius takes off on his own journey first. As Muriel and Julies go about their separate lives and journeys, they are inextricably linked by the gambles that they make and the choices they make.

On Swift Horses juggles two main plotlines and a number of character movements across its two hours, but it’s mostly the two separate stories of Muriel and Julius. Outside of a few meetings, these two characters live their lives and we watch them interweave with similar themes and characters, but therein lies a big problem. As the two stories play out, it’s very obvious that the Muriel story is far more interesting than the Julius story. I’m sure others will feel differently, but I found her dual-life and secretive nature more engaging, and whichever story you prefer, I feel like having both of them so similar makes one feel fascinating and the other unecessary.

For me, the Muriel story is full or more secrecy, regret, and the understanding that the situation she finds herself in is one where no one gets away happy. She’s confronted with an awakening and a questioning of her lot in life that fundamentally alters her safe little world. It’s also aided by an incredible performance from Daisy Edgar-Jones (though I should stress that the entire cast here is quite good). Edgar-Jones has moments of quiet concern and realization through little looks, pauses, and breathing, that convey more emotion than words often can. There’s a moment in the back half of the film where she gets into a car and gives a look that says she knows that it’s all about to fall apart that is simply awe-inspiring.

On Swift Horses often feels like it’s going to get more interesting as it goes along, and parts of it (specifically regarding Muriel) are quite fascinating and powerful, but the end product comes off feeling like it has nothing of interest to say. It’s characters meander throughout each other’s lives, none of it having any real impact. The performances are all quite great, but the screenplay is playing far too safe and far too traditionally to really make anything of value from the story.

2.5
-Kyle A. Goethe