In her second feature, writer, director, and producer Emerald Fennell digs her heels deeper into the themes of power dynamics and the consequences of privilege that she explored in 2020’s explosive Promising Young Woman, this time folding in palace intrigue by moving the action to the lofty estate of a family of aristocrats at the eponymous Saltburn. A decadent feast for the senses, Fennell’s sophomore feature calls to mind a tale as old as time framed through a modern lens: an unassuming Oxford scholar is allured by the corrosive power of wealth, finding himself sucked into a vortex of desire, greed, and materialism. It’s Fitzgerald’s The Great Gatsby with the hyper-modern visual high-shine of Euphoria and the cold calculation of a Bret Easton Ellis novel, plus a splash of the wealthy ennui found in a Sofia Coppola film. Read More
Decent ‘VOYAGERS’ Is Teenaged Outer Space ‘Lord of the Flies’
In William Golding’s ‘Lord of the Flies’, a shipment of young boys escaping the nightly bombardment of WWII England crash land on a remote uninhabited island and, left to their own devices, attempt to organize rescue and their own society. Reward and punishment is doled out with the knee-jerk brashness that would conceivably come with children-led governance and their laissez-faire island society quickly turns to brutish power struggles and, soon, murder. Neil Burger’s Voyagers borrows Golding’s premise and jettisons it into outer space, stirring in a rudimentary thought experiment about control, pleasure, and autonomy, to mixed results. Read More