Review: ‘Saltburn,’ starring Barry Keoghan, Jacob Elordi, Rosamund Pike, Richard E. Grant, Alison Oliver and Archie Madekwe

November 17, 2023

by Carla Hay

Barry Keoghan in “Saltburn” (Photo courtesy of Amazon MGM Studios)

“Saltburn”

Directed by Emerald Fennell

Culture Representation: Taking place in England, mostly in 2006, the comedy/drama film “Saltburn” features a predominantly white cast of characters (with a few black people) representing the working-class, middle-class and wealthy.

Culture Clash: A mysterious Oxford University student becomes infatuated with his rich male classmate, who invites him to spend the summer with him at his family’s sprawling estate, where mind games and chaos ensue. 

Culture Audience: “Saltburn” will appeal primarily to people who are fans of the movie’s headliners and movies that skewer the upper class of society.

Jacob Elordi in “Saltburn” (Photo courtesy of Amazon MGM Studios)

“Saltburn” seems inspired by “Brideshead Revisited” and “The Talented Mr. Ripley,” with a touch of “Absolutely Fabulous. “Although not as great as these inspirations, “Saltburn” has memorable performances and eye-catching scenes. The ending has a major plot hole. This plot hole might be easily overlooked during the sequence of events that are meant to shock viewers, but it’s a plot hole that nearly ruins what could have been a completely believable conclusion. Hint: “Saltburn” ignores the fact that coroners exist.

Written and directed by Emerald Fennell, “Saltburn” is her second feature film as a writer/director, following her 2020 feature-film directorial debut, “Promising Young Woman,” which won an Oscar for Best Original Screenplay. “Saltburn” has many recycled plot points from other movies, so “Saltburn” is not really all that original, but it does have some scenes that are fairly unique. “Saltburn” had its world premiere at the 2023 Telluride Film Festival.

“Saltburn” (which takes place mostly in 2006) begins by showing the arrival of a new student at Oxford University in England: Oliver Quick (played by Barry Keoghan) has joined the graduating Class of 2006 sometime in December 2005, close to the Christmas holiday season. Oliver is a loner who is the type of overachieving student who will read every book on a professor’s recommended list, even though he doesn’t have to do all that work.

One of the first people Oliver meets at Oxford is one of his roommates: Michael Gavey (played by Ewan Mitchell), who wants to be Oliver’s friend and is even nerdier and more socially awkward than Oliver is. Michael is the type of dork who will bark out demands that Oliver prove his knowledge of answers to random questions that Michael verbally throws at him. Michael likes to feel intellectually superior to almost everyone, even though he secretly craves acceptance from the popular students in the school.

The most popular clique in the class is led by a wealthy heartthrob named Felix Catton (played by Jacob Elordi), who uses his good looks and charm to get whatever he wants. The Catton family’s opulent and sprawling estate is called Saltburn. The other students in Felix’s clique are also affluent and/or come from prominent families.

The opening scene of “Saltburn” shows Oliver saying, “I wasn’t in love with him. I loved him, of course, Everyone loved him … I protected him … But was I in love with him?” Before he answers that question, the movie shows Oliver’s arrival at Oxford.

The “him” in Oliver’s opening monologue is Felix, of course. Oliver seems instantly infatuated with Felix the moment that he sees Felix. Oliver admires Felix from afar, until one day, Oliver is riding his bike on campus, when he sees Felix looking dejected as Felix is sitting near a tree-lined bikeway path. Oliver stops and asks Felix what’s wrong. Felix says that his bicycle has a flat tire.

Felix explains that he’s already late for a class, which is too far away for him to walk in order not to miss most of the class session. Oliver generously lets Felix borrow Oliver’s bike. A grateful Felix later invites Oliver to hang out with Felix and his inner circle at a local pub. It’s the beginning of a friendship between Felix and Oliver, who quickly shuns Michael after Oliver is accepted into Felix’s clique. Michael isn’t too happy about this rejection and later makes some hilarious cutting remarks to Oliver about Oliver’s social climbing.

Someone who also isn’t happy about Oliver joining the group is Felix’s American cousin Farleigh Start (played by Archie Madekwe), who sees Oliver as a socially inferior interloper. Farleigh already had a grudge against Oliver, who embarrassed Farleigh in front of one of their teachers named Professor Ware (played Reece Shearsmith), when Oliver showed he knew more than Farleigh about the topic of discussion.

However, Farleigh still has some clout with the professor, who confesses that Farleigh’s mother (a famous actress named Fredrika Start, who’s never seen in the movie) was his crush when he and Fredrika were students at Oxford. People who watch “Saltburn” shouldn’t miss the first 15 minutes of the movie, which quickly explains the backstories of Farleigh and Oliver, who end up having a rivalry over Felix’s attention.

Farleigh’s mother moved to the United States, where Farleigh was born and raised. She had some kind of mental breakdown and has financial problems, so she sent Farleigh to live at Saltburn, because her brother is Sir James Catton (played by Richard E. Grant), who is Felix’s father. Farleigh’s father is not in Farleigh’s life. It’s mentioned Farleigh has been expelled from many schools for getting sexually involved with male teachers. Farleigh feels a lot of resentment and shame for having to ask his uncle James for money.

As for Oliver, the word has gotten around to many students at the school that he’s on a scholarship. Oliver tells people that he is an only child, and his estranged parents are heavily involved in drugs. According to Oliver, his father is a drug dealer who’s been in and out of prison. His mother is a drug addict and an alcoholic. Oliver hints that he experienced a lot of abuse and trauma in his childhood. Oliver makes it clear that he wants nothing to do with his parents.

“Saltburn” breezes by the academic year to show the graduation of Oxford’s Class of 2006. With no immediate plans after graduation, Felix invites Oliver to stay for the summer with the Catton family at Saltburn. The best parts of the movie take place at Saltburn, which is not only a playground for the family’s indulgences but also a prison of bottled-up resentments, sexual manipulation, and psychological warfare. Oliver gets swept up in it all.

The other members of the Catton family at Saltburn are Felix’s self-centered and vapid mother Elspeth Catton (played by Rosamund Pike) and Felix’s jaded and insecure late-teens sister Venetia Catton (played by Alison Oliver), who have some of the best lines in the movie. Elspeth is the type of person who will smile and pretend that her insults are compliments. Venetia, who has an eating disorder, is both rebellious and needy.

All of the Catton family members don’t do much at Saltburn except smoke, drink, eat lavish meals, lounge around, and have parties. When the younger members of the family play tennis, they wear tuxedos and party clothes. The family has a longtime butler named Duncan (played by Paul Rhys), whose “stiff upper lip” mannerisms suggest that he’s heard and seen a lot of unmentionable things at Saltburn, but he is loyally discreet.

Carey Mulligan (the star of “Promising Young Woman”) has a small supporting role in “Saltburn” as Elspeth’s tattooed friend Pamela, who is staying at Saltburn after getting out of drug rehab. Pamela has overstayed her welcome, but Elspeth won’t come right out and tell Pamela to leave. The snappy rapport between redhead Pamela and blonde Elspeth will remind “Absolutely Fabulous” sitcom fans of the rapport between “Absolutely Fabulous” substance-abusing fashionista friends Edina “Eddie” Monsoon (the redhead) and Patricia “Patsy” Stone (the blonde).

“Saltburn” unpeels the layers of Oliver, who at first seems in awe and somewhat overwhelmed to be in the presence of the Catton family’s wealth. Slowly but surely, it’s revealed that there’s a lot more to Oliver than what he first appeared to be. And there are some things he does in the movie (especially those involving bodily fluids) that are intended to make viewers uncomfortable.

Keoghan gives a fascinating performance as Oliver, who is quite the chameleon. Madekwe is compelling in his depiction of the very snarky Farleigh, Oliver’s main adversary. Pike and Oliver are also standouts for their portrayals of a mother and daughter who are caught between smug vanity and crippling self-doubt. Look beneath the physically attractive surfaces of Elspeth and Venetia, and you’ll see two women who hate that their worth is defined by how they look and how much wealth they have.

Elordi is also quite good in his role as Felix, who is shallow but is a less-toxic member of the Catton family. “Saltburn” plays with viewers’ expectations of whether or not ladies’ man Felix will acknowledge Oliver’s obvious infatuation with Felix. And if so, what will be done about it? And what if Oliver gets rejected?

“Saltburn” has some stunning cinematography (by Linus Sandgren) that alternates between bright hues of idyllic luxury and the shadowy darkness of secrets and decadence. The movie’s production design and costume design are also noteworthy. “Saltburn” has some intense emotional scenes that are well-acted with clever dialogue.

Where “Saltburn” stumbles the most is in the last 20 minutes of the movie, which will be divisive to viewers. The concluding part of “Saltburn” is very suspenseful, but when answers to mysteries are finally revealed, they are rushed through the story and just create more questions that the movie never bothers to answer. Still, there’s no denying that the cast members’ performances are worth watching. And the movie’s flaws are outnumbered by the areas where “Saltburn” excels.

Amazon MGM Studios released “Saltburn” in select U.S. cinemas on November 17, 2023, with an expansion to more U.S. cinemas on November 22, 2023. Prime Video will premiere “Saltburn” on December 22, 2023.

Review: ‘The Banshees of Inisherin,’ starring Colin Farrell and Brendan Gleeson

October 21, 2022

by Carla Hay

Brendan Gleeson and Colin Farrell in “The Banshees of Inisherin” (Photo courtesy of Searchlight Pictures)

“The Banshees of Inisherin”

Directed by Martin McDonagh

Culture Representation: Taking place in 1923, on the fictional Irish island of Inisherin, the comedy/drama film “The Banshees of Inisherin” features an all-white cast of characters representing the working-class.

Culture Clash: Two men who have been best friends—a farmer in his 40s and a musician in his 60s—have their emotional stability tested when the musician abruptly ends the friendship and goes to extreme lengths to get his former friend to stop communicating with him.

Culture Audience: “The Banshees of Inisherin” will appeal mainly to people who are fans of stars Colin Farrell and Brendan Gleeson; filmmaker Martin McDonagh; and movies that make darkly comedic and emotionally incisive commentaries about the highs and lows of human nature.

Kerry Condon and Barry Keoghan in “The Banshees of Inisherin” (Photo courtesy of Searchlight Pictures)

“The Banshees of Inisherin” offers a bittersweet exploration of the heartbreak, loneliness, hope, and bizarre unpredictability of life with two estranged friends in a rural Irish town. Colin Farrell and Brendan Gleeson give magnetic performances as two former friends who want very different things in existing together in this small, tight-knit and gossipy community. This comedy/drama movie reunites Farrell, Gleeson, and writer/director Martin McDonagh, who previously worked together on the 2008 assassin dramedy “In Bruges,” a very different movie from “The Banshees of Inisherin.”

McDonagh should be given a lot of credit for not wanting to copy “In Bruges” in this reteaming with the dynamic duo of Farrell and Gleeson, who played bickering hit men in the movie, which was set in Bruges, Belgium, in late 2000s. “In Bruges” had a madcap energy and some wacky plot developments that bordered on the absurd. “The Banshees of Inisherin” is often bleak, dreary and carries the emotional weight of characters wallowing in personal despair, but not having the words or resources to cope well with their personal problems. “The Banshees of Inisherin” had its world premiere at the 2022 Venice International Film Festival, where Farrell won the award for Best Actor, and McDonagh won the prize for Best Screenplay.

Set in 1925 on the fictional island of Inisherin (off of the coast of Ireland), “The Banshees of Inisherin” shows how the unraveling of a friendship spirals out of control into madness and tragedy. The movie is about more than some of the outlandish things that happen during the course of the story. It’s also about the mundanity of being stuck and stifled by a life of drudgery and limited options. It’s also about the need for people to feel loved and accepted by those whom they love and accept.

Viewers never get to see how the friendship developed between longtime Inisherin residents Pádraic Súilleabháin (played by Farrell) and Colm Doherty (played by Gleeson), because “The Banshees of Inisherin” begins on the day that Pádraic finds out that Colm not only wants to end the friendship, but Colm also wants Pádraic to stop communicating with him. Pádraic is a farmer in his 40s. Colm is a musician in his 60s. Both are bachelors with no children. Up until their estrangement, they were constant companions.

It’s unknown if Colm ever got married, but it’s made clear that Pádraic has never been married and is generally inexperienced and uninterested about a lot of things outside of Inisherin and his farm life. The movie doesn’t go into details about their sexualities or their love lives, but it’s implied that Colm and Pádraic have an older brother/younger brother type of relationship.

Somehow, their friendship became the center of their social lives. Colm lives alone, while Pádraic lives with his sister Siobhan Súilleabháin (played by Kerry Condon), who is a never-married bachelorette in her 40s with no children. Siobhan and Colm are the most important people in Pádraic’s life. Pádraic and Siobhan, whose parents died seven years earlier, are the only Súilleabháin family members who live on the island of Inisherin.

Pádraic and Colm each has a beloved pet that plays a pivotal role in the story. Padraic’s favorite animal on the farm is a miniature donkey named Jenny, whom he treats like a child. (Jenny has some adorable animal scenes in the movie.) Pádraic and Siobhan sometimes argue because Pádraic wants to let Jenny stay in their house, while Siobhan refuses and insists that Jenny stay in the area where the rest of the farm animals are kept. Colm’s only pet is his devoted male Border Collie named Sammy, who is Colm’s only constant companion in the story.

Pádraic is an uncomplicated person who places a high value on honesty and being nice to other people. He is the type of person who will say exactly what he’s thinking, even if it comes out in a way that might be awkward or not very tactful. Colm is much more complicated and someone who doesn’t always say what he’s thinking. Viewers will soon see that Colm has a dark side and how disturbed that dark side can be.

The unnamed rural town where Colm and Pádraic live has a very small population, so everyone in the community seems to know each other. (“The Banshees of Inisherin” was actually filmed in Inishmore and Achill Island in Ireland.) It’s the type of working-class town where no one can afford to have a car, so the usual form of vehicle transportation is a wheel cart.

The opening scene shows Pádraic walking to Colm’s house to meet him for their usual 2 p.m. visit to the local pub, which is called J.J. Devine Public House. Pádraic peeks in the front window and sees that Colm is sitting on a chair, smoking a cigarette, and looking lost in his thoughts. Pádraic taps on the window and calls out Colm’s name loud enough for Colm to hear, but Colm acts like he doesn’t hear anything and stares straight ahead.

Pádraic assumes that his friend will join him in the pub later, so he goes to the pub by himself. When Pádraic arrives, the pub’s owner/bartender Jonjo Devine (played by Pat Shortt) immediately asks Pádraic where Colm is, because Jonjo is so accustomed to seeing Pádraic and Colm together. “Are you rowing [arguing]?” Jonjo asks Pádraic, who says no. Pádraic tells Jonjo about Colm’s strange non-reaction when Pádraic went to visit him.

Colm is a no-show for their usual pub meet-up. A confused Pádraic goes home and tells Siobhan, who asks the same question: “Are you rowing?” Pádraic says no, and he’s not aware of anything that could’ve happened that would cause Colm to avoid him. Pádraic later goes back to the pub, where he sees Colm acting friendly and in good spirits with Jonjo and some of the customers.

When Colm sees Pádraic, the smile leaves Colm’s face, and Colm looks like he’s just seen someone whom he dislikes immensely. Pádraic, who is completely baffled, approaches Colm and asks him what’s going on and why Colm is acting this way. Pádraic also says that he’s sorry if he did anything to offend Colm. And that’s when Colm bluntly tells Pádraic that he doesn’t want to be Pádraic’s friend anymore because Colm thinks Pádraic is too dull and he’s become completely bored with their friendship. Colm also says that he doesn’t want Pádraic to talk to him anymore.

Colm, who is a fiddler, goes on to say that he’s getting old and wants to write great musical pieces before he dies. He cruelly tells Pádraic that Pádraic just drains time and energy from Colm, who wants to put that time and energy into writing music. Colm tells Pádraic that he’s “trying not to listen to the dull things you have to say.” Colm adds that he “has time not for aimless chatting but normal chatting.”

As an example of something that Pádraic does that Colm says is annoying, Colm mentions a recent conversation where Pádraic talked to Colm for two hours about the things he found in the feces of Pádraic’s donkey. Pádraic corrects Colm and said that the conversation about feces was actually about a pony, not a donkey. It’s an example of some of the dark comedy in this movie.

Pádraic is in shock and denial over this abrupt end to this friendship. The next day, he wakes up and sees on his calender that the day that Colm told him that their friendship was over also happened to be April Fool’s Day. Pádraic goes back to the pub and talks to Colm again, because he thinks that the conversation they had the night before was all a big April Fool’s Day joke. But to Pádraic’s dismay, Colm tells him in no uncertain terms that it’s not a joke.

And then, Colm makes this ominous threat: If Pádraic communicates with Colm again, Colm will cut off one of Colm’s own fingers every time it happens. It’s a threat that several people in the pub hear. And since this is a small town, word quickly spreads in the community about the alarming way that Colm wants to keep Pádraic out of Colm’s life.

Pádraic is naturally very distressed by this turn of events. He turns to Siobhan for emotional support, and she has to constantly deny it when Pádraic asks her if he’s dimwitted and dull. “You’re nice!” she finally yells in frustration. “Move on!” But Pádraic can’t move on. He’s still mystified over why Colm no longer wants to be his friend, and he wants them to be friends again.

Pádraic and Siobhan eventually come to the conclusion that Colm might be depressed. However, Pádraic being Pádraic, his nature is to want to be the one to help lift Colm out of Colm’s apparent depression. And the only way Pádraic knows how to do that is to talk to Colm.

While Pádraic is still reeling from being rejected by his best friend, a local guy in his 20s named Dominic Kearney (played by Barry Keoghan) has been tagging along with Pádraic very chance that he can get. Dominic, who appears to have learning disabilities, is a social outcast in this community. Padraic is the person in the community who is the kindest to Dominic. Just like Pádraic looks up to Colm like an older brother, Dominic seems to have a similar admiration for Pádraic.

Dominic also wants to spend a lot of time with Pádraic because Dominic comes from a very abusive home. It’s revealed fairly early on in the movie that Dominic’s widowed, alcoholic father Peadar Kearney (played by Gary Lydon) physically and emotionally abuses Dominic. The abuse goes beyond beatings and includes sexual abuse.

Peader happens to be the only police officer that this very small town has, so he gets away with these crimes. Peader also dislikes Pádraic and Siobhan, for past reasons that aren’t fully explained. However, it probably has a lot to do with the fact that Pádraic knows all about the abuse, and Dominic seems to want to be a part of the Súilleabháin more than Dominic wants to be part of his own family. The animosity between Peader and Pádraic increases when Peader and Colm start to become friendlier with each other after Colm ends his friendship with Pádraic.

Meanwhile, Dominic has a crush on Siobhan, but because he’s socially awkward, he doesn’t quite know how to express his feelings. Pádraic is too absorbed with trying to mend his friendship with Colm, so Pádraic doesn’t notice the significance of why Dominic asks him about Siobhan’s dating history and what kind of men Siobhan tends to like. Pádraic isn’t very helpful and gives vague answers. Just like her brother, Siobhan doesn’t have an active love life.

One evening, Dominic is invited over for dinner at Pádraic and Siobhan’s home. When Dominic asks Siobhan why she’s never been married, she gets angry and offended and tells him that it’s none of his business. She’s so insulted by this question, Siobhan tells Dominic to leave. Siobhan also doesn’t pick up on Dominic’s infatuation with her, so she doesn’t understand that Dominic asked that question as a way to flirt with her.

Some other characters in the movie have supporting roles as people who know a lot of the personal business of the people in this community. Mrs. McCormick (played by Sheila Flitton), an elderly woman who is an occasional visitor to the Súilleabháin home, looks and acts like someone who knows a lot of community secrets. Mrs. Reardon (played by Bríd Ní Neachtain), a middle-aged woman who runs the local convenience store/post office, is a very nosy gossip and doesn’t hestitate to open other people’s mail, in order to snoop. And then there’s the obligatory Catholic priest (played by David Pearse), a man in his late 20s or early 30s, who doesn’t have a name in the movie, but he hears people’s confessions.

The personal turmoil between Pádraic and Colm escalates when Pádraic just can’t accept that Colm wants Pádraic to leave Colm alone. Pádraic’s desperation is also affected when Siobhan gets a job offer to work at a library on the mainland of Ireland. The movie shows whether or not she takes that offer. It’s also shown if Colm follows through on his threat to cut off any of his own fingers after Pádraic continues to contact Colm.

“The Banshees of Inisherin” is not a big, flashy movie with elaborate scenes of drama. It’s a movie that authentically shows the quiet desperation that people feel but they suppress, in order not to be labeled as unstable, troublemakers or whiners. Pádraic shows a lot of emotional vulnerability that makes some members of the community more uncomfortable than Colm’s declaration of violent self-harm. It’s the movie’s way of showing how unnecessary violence is often more accepted in society as a way to cope with problems, rather than expressing emotional vulnerability.

Of course, in a movie about former friends who end up feuding with each other, there are some showdown scenes that are among the best in the movie. However, there are scenes where Pádraic or Colm is alone in a room, and those scenes are just as powerful. Farrell and Gleason handle their respective characters with a level of authenticity that resonates, even when some unhinged things start to happen. Condon and Keoghan are also quite good in their roles, although the characters of Siobhan and Dominic are ultimately overshadowed by what goes on between Pádraic and Colm.

McDonagh’s movies and plays often show human nature at its worst and its best. His movies and plays also depict aspects of life that can be depressing or joyful. It’s a dichotomous balance that isn’t easy to achieve, but McDonagh’s sharp talent in writing and directing, as well as his ability to make great decisions with a top-notch cast, result in “The Banshees of Inisherin” being a sometimes uncomfortable but definitely a memorable and emotionally moving ride.

Searchlight Pictures released “The Banshees of Inisherin” in select U.S. cinemas on October 21, 2022. The movie will be released on digital and VOD on December 13, 2022, and on Blu-ray and DVD on December 20, 2022.

Review: ‘Eternals’ (2021), starring Gemma Chan, Richard Madden, Kumail Nanjiani, Brian Tyree Henry, Salma Hayek, Angelina Jolie and Lia McHugh

October 26, 2021

by Carla Hay

Kumail Nanjiani, Lauren Ridloff, Don Lee (also known as Ma Dong-Seok), Angelina Jolie, Richard Madden, Salma Hayek, Gemma Chan, Lia McHugh, Brian Tyree Henry and Barry Keoghan in “Eternals” (Photo courtesy of Marvel Studios)

“Eternals” (2021)

Directed by Chloé Zhao

Culture Representation: Taking place in various parts of the universe, the superhero action film “Eternals” features a racially diverse cast of characters (white, Asian, Latino and African American) portraying superheroes from outer space and human beings.

Culture Clash: The superheroes, who are known as Celestials, find out that their arch-enemy demon creatures, which are called Deviants, have not all been killed off and are back with a vengeance. 

Culture Audience: “Eternals” will appeal primarily to people who are fans of the Marvel Cinematic Universe (MCU), but viewers should know in advance that “Eternals” is much slower-paced and has a less straightforward narrative than a typical MCU movie.

Kumail Nanjiani and a Deviant in “Eternals” (Photo courtesy of Marvel Studios)

“Eternals” has the expected thrilling action scenes, but the non-action scenes might be too quiet and introspective for some fans of the Marvel Cinematic Universe. The movie suffers from too much timeline jumping. And there are some other problems with the film’s tone and pacing. However, the showdowns in the last third of the movie make up for the meandering story in the rest of “Eternals.” It’s a movie that tries to take a minimalist approach to a story that’s got maximalist content because it’s packed with characters and agendas.

If “Eternals” does not have the same consistently high-adrenaline pace that people have come to expect from MCU movies, that’s because “Eternals” is the first major studio movie (and fourth feature film) from Oscar-winning filmmaker Chloé Zhao, who made a name for herself as a writer/director of quiet and introspective independent films (such 2020’s “Nomadland” and 2018’s “The Rider”) about wandering and/or restless “ordinary” people. These “slice of life” low-budget movies are quite different from the blockbuster superhero spectacle that has become the defining characteristic of MCU movies. Zhao co-wrote the “Eternals” screenplay with Patrick Burleigh, Ryan Firpo and Kaz Firpo.

Sure, “Eternals” has big-budget visual effects, gorgeous cinematography and impressive production design, but the movie’s heart (under Zhao’s direction) remains in the artsy indie film culture of requiring viewers to think more about the psychology of the characters than about what’s shown on screen. There are many times in “Eternals” when what the characters do not say (and what they keep to themselves) can be as important as what they do say. “Eternals” is not a movie that spells things out easily for the audience.

However, with a large ensemble cast of characters that are based on Marvel Comics characters created by Jack Kirby, “Eternals” is disappointing in how these characters are introduced in such a jumbled way to movie audiences who might not be familiar with these characters. The movie’s title characters are Celestials: universe-wandering beings who look like humans but who actually have superhero powers, including the ability to fly, shoot lasers from their hands or eyes, and quickly heal from wounds.

Celestials, who can also live for centuries, are not immortal, but it’s rare for a Celestial to die. Celestials all share an energy source that can help them strengthen their superpowers. Celestials (just like humans) can feel emotions, have individual personalities, and make their own decisions. As such, Celestials can have varying degrees of personal connections to each other and to human beings.

Before the opening title sequence of “Eternals,” it’s explained that Celestials come from the planet Olympia and were created to combat gigantic demon-like creatures named Deviants on planet Earth. (There are many influences from Greek mythology in the “Eternals” story.) The Deviants can be as small as the size of an elephant or as large as the size of a dinosaur. The Celestials have been instructed by Arishem, their supreme being/prime Celestial, to only find and kill Deviants and not to interfere with any of Earth’s wars and crimes between any humans and other beings.

Over several centuries, the Celestials battled Deviants until it was believed that all of the Deviants were killed. With their goals seemingly accomplished, the Celestials went their separate ways. Most Celestials continued to live on Earth under the guise of being “normal” human beings. However, there would be no “Eternals” movie if things were that simple. To make a long story short: The Celestials find out that there are still more Deviants on Earth, and that Deviants might not be the only threat to the Celestials.

“Eternals” introduces for the first time in a live-action movie these 10 superhero Celestial/Eternal characters:

  • Sersi (played by Gemma Chan), who genuinely loves human beings overall and who works as a scientist at the Natural History Museum in London.
  • Ikaris (played by Richard Madden), who is serious-minded, ambitious and Sersi’s former love interest.
  • Ajak (played by Salma Hayek), who is the wise matriarchal leader of the group.
  • Thena (played by Angelina Jolie), who is a powerful warrior whose main weapons are supernatural swords, shields and tritons.
  • Druig (played by Barry Keoghan), who is an opinionated young rebel with the power to control minds.
  • Kingo (played by Kumail Nanjiani), who is a wisecracking jokester with an attraction to showbiz.
  • Phastos (played by Brian Tyree Henry), who is a master inventor and technopath with a sarcastic sense of humor and cautious nature.
  • Gilgamesh (played by Don Lee, also known as Ma Dong-Seok), who has extraordinary strength and a playful personality.
  • Makkari (played by Lauren Ridloff), who is described as “the fastest woman in the universe,” and she happens to be deaf.
  • Sprite (played by Lia McHugh), who is a shapeshifter but is frustrated that her real physical appearance of being a 12-year-old girl has not changed, even though she is centuries old.

If only these characters were introduced in “Eternals” in a way that would be easier to keep track of them and who they are. Some of the characters’ names aren’t even spoken right away, so viewers will be left wondering, “What is this character’s name? What is this character’s story?” Unless you’re a Marvel aficionado or someone who bothered to look up these characters before watching the movie, there will be some scenes in “Eternals” where you’ll be watching a bunch of people talking with no meaningful context of what their histories are with each other.

Because there are so many Celestial characters crammed into the movie, some of them inevitably get sidelined, or their personalities not given enough time to shine. For example, Thena barely says anything of substance, which seems like a waste of the talent of Oscar-winning Jolie. Thena has some standout fight scenes, but that’s about it. For reasons that are shown in the movie (but won’t be mentioned in this review because it’s spoiler information), Ajak is not in the movie as much as the “Eternals” trailers give the impression that she is. Gilgamesh gets the least amount of screen time out of the 10 Celestial superheroes in “Eternals.”

One of the biggest flaws of “Eternals” is that all the timeline jumping makes the movie look a bit unfocused. The movie goes back and forth from the present day to different past eras and locations. There’s one time jump scene that only lasts for a couple of minutes before it’s on to the next. At the same time, many of the conversations are slow-paced. It’s an odd mix.

The purpose of the zig-zagging between eras is to show what the Celestials looked like when they worked as a team in the past, compared to the present when they’ve become scattered in different places and leading different lives. Scenes take place in present-day London, Chicago or South Dakota, while the flashback scenes are in vastly different eras and places, such as Mesopotamia in 500 B.C.; Tenochtitlan in the year 1521; or Nagasaki, Japan, in 1945. (History buffs will immediately know the significance of the years and locations of these flashbacks.) For the present-day scenes, “Eternals” also has a not-so-subtle environmentalist message about climate change that factors into a pivotal part of the story.

And there’s a lot of deconstructing of macho superhero personas in “Eternals.” Without giving away too much information, it’s enough to say that Ikaris has several scenes where he cries. He sheds tears more than any other character in the movie. Madden gives a heartfelt performance in “Eternals,” but it’s easy to predict that all this superhero crying in “Eternals” will get some mixed reactions from audiences.

And speaking of melodrama, “Eternals” has a soap-opera-like subplot of Ikaris and Sersi’s love saga. After centuries of being together (and even having a wedding ceremony in India’s Gupta Empire in 400 B.C., as seen in the movie), Ikaris broke Sersi’s heart when he abruptly left after the Celestials disbanded. In present-day London, Sersi has moved on to a new love: a human named Dane Whitman (played by Kit Harington), who is a teacher/co-worker at the Natural History Museum.

In an early scene in the movie, Dane asks Sersi why she won’t move in with him. She plays coy. Dane also tries to guess what’s so different about Sersi, based on clues and hints that he’s been getting from Sprite, the Celestial who hangs out the most with Sersi. Sersi and Sprite have almost like a older sister/younger sister relationship. Dane incorrectly guesses that Sersi is some kind of wizard. The movie shows whether or not Sersi will tell Dane about her true identity.

Meanwhile, Ikaris comes back into Sersi’s life. Can you say “love triangle”? Except, not really, because Dane is not in most of this movie. Dane’s biggest scenes are at the beginning and at the end of “Eternals.” Instead, the big romance angle in the story is all about making viewers wonder if Sersi and Ikaris will get back together as a couple. Expect to see Ikaris and Sersi give each other predictable longing glances, or their hands deliberately touch in certain scenes. The problem is that Madden and Chan don’t have much believable chemistry as former lovers who are supposed to still be hot for each other.

The only other Celestial who’s shown having a love life in “Eternals” is Phastos, who is openly gay and is married to a loving and supporting human husband named Ben (played by Haaz Sleiman), whose occupation is never mentioned in the film. Phastos (or “Phil” as he calls himself in his domesticated Earthly life) and Ben have a precocious and energetic 10-year-old son named Jack (played by Esai Daniel Cross), who is the reason why protective dad Phastos is very reluctant to go back to any Celestial duties. Ben knows about Phastos’ true identity as a Celestial. As for the much-hyped “first MCU superhero gay kiss,” it’s very tame. It’s in a scene where Ben and Phastos kiss each other goodbye, as Phastos temporarily leaves home to go with the Celestials to save the world again, as you do if you’re a superhero.

Speaking of being a superhero, “Eternals” has some confusing scenes about Celestial superpower strength. For example, in more than one scene, Celestials can be seen healing themselves and each other when they sustain serious bloody injuries in a fight. However, there’s a scene in the movie where one of the Celestials is able to knock out another Celestial unconscious with one blow from a rock to a head. You’d think that the Celestial who was hit could recover and regain consciousness quickly, based on the Celestial superpowers, but that’s not what happens.

“Eternals” has a serious tone overall, but the movie does attempt to have some comic relief, mainly through the characters of Kingo and Phastos. Sprite can be a bit of a moody brat, so her cynical attitude toward life is occasionally mined for laughs. Druig and Makkari are romantically attracted to each other and have some cute flirtatious banter. However, some of the movie’s comedy seems forced and something out of a TV sitcom.

There’s a somewhat annoying subplot about Kingo being a Bollywood star and insisting on making a “documentary” (which is actually just Kingo’s one-camera vanity project) about the Celestials’ exploits when this superhero group gets back together. Tagging along for the ride is Kingo’s valet named Karun (played by Harish Patel), who is nothing more than a buffoon character posing as a Bollywood director. “Eternals” also has lots of references to social media and pop culture that will not age well over the years.

With all that being said, “Eternals” does deliver some exciting action sequences and meaningful character development, especially in the last 50 minutes of this 157-minute movie. There are some visually stunning outdoor scenes, which have become part of Zhao’s signature style in her films. Just expect to sit through a lot of dialogue that can be dull and somewhat trite before getting to the best parts of “Eternals.” The movie’s mid-credits scene (which has the MCU debut of two buddy characters, of which one is portrayed by a former teen idol) and end-credits scene (which has Dane by himself and showing why he told Sersi earlier that his family history is “complicated”) should have viewers anticipating the next movie in the “Eternals” saga.

Marvel Studios will release “Eternals” in U.S. cinemas on November 5, 2021.

Review: ‘The Green Knight,’ starring Dev Patel, Alicia Vikander, Joel Edgerton, Sarita Choudhury, Sean Harris and Ralph Ineson

July 28, 2021

by Carla Hay

Dev Patel and Sean Harris in “The Green Knight” (Photo courtesy of A24)

“The Green Knight”

Directed by David Lowery

Culture Representation: Taking place in an unspecified ancient time in England, the fantasy horror film “The Green Knight” features a predominantly white cast of characters (with a few Indians) representing the working-class, middle-class and royalty.

Culture Clash: King Arthur’s adventure-seeking nephew Gawain volunteers to take a life-threatening challenge from the Green Knight, and Gawain encounters many obstacles and temptations along the way.

Culture Audience: “The Green Knight” will appeal primarily to people who are interested in an atmospheric and heady reimagining of the King Arthur legends.

Ralph Ineson (forefront) in “The Green Knight” (Photo courtesy of A24)

“The Green Knight” brings an unconventional horror spin on the King Arthur legends by putting more emphasis on the human mind and spirit experiencing terror rather than on elaborate and bloody physical battles. People who are expecting “The Green Knight” to be a fast-paced action film might be disappointed by the movie’s slow pacing. However, viewers who are patient enough to go on this “head trip” of a movie will find a lot to marvel and ponder in this cinematic retelling of ancient literature.

Written and directed by David Lowery (who has a tendency to make deliberately paced films with complicated protagonists), “The Green Knight” is told in chapters, with each chapter title appearing on the screen. “The Green Knight” is a filmed adaptation of an anonymously written chivalric romance called “Gawain and the Green Knight,” which was published in the 14th century. Do viewers have to know this story or any Arthurian legends before seeing “The Green Knight”? No, but it helps.

“The Green Knight” begins during a Christmas season and ends one year later. In the opening of the movie, rebellious and stubborn knight Gawain (played by Dev Patel) has spent the night before Christmas getting drunk and being with his lover Helen (played by Anais Rizzo), who is a commoner. When Gawain comes home, his nameless mother (played by Sarita Choudhury) asks Gawain where he was all night. Gawain lies and says that he was attending Mass. His mother, who smells the liquor on him, replies sarcastically, “Have you been drinking the sacrament all night?”

Gawain’s mother is the sister of the king (played by Sean Harris), who rules over the kingdom with his queen wife (played Kate Dickie). Although these ruling royals do not have names in this movie, all indications are that the king is the legendary King Arthur. Gawain might have lived a carefree lifestyle as the nephew of a king, but that will soon change in this story.

On Christmas Day, the king, queen, the Knights of the Round Table (including Gawain) and other assorted people have gathered for a formal court meeting. The king summons Gawain to sit beside him on the throne and remarks that it’s the first time that he’s given this privileged invitation to Gawain. The king asks that Gawain give him a very specific Christmas gift: Gawain must tell a tale about himself.

No sooner does the king make this request when the Green Knight (played by Ralph Ineson) appears on horseback in the court. In this movie, the Green Knight doesn’t look completely human, but more like a cross between a human and a tree. The Green Knight, who tests the characters of men, has arrived to deliver a challenge.

The written message that the Green Knight delivers upon his arrival is read by the queen, and the voice that comes out of her mouth is a deep and eerie man’s voice, as if the Green Knight is reading it himself. It’s one of many spooky touches to the film that Lowery adds to ensure that viewers know that this isn’t a typical knight movie. Get used to seeing a lot of cinematography drenched in mist when watching “The Green Knight.”

The Green Knight’s challenge is simple but one that would strike fear in the heart of the average person. The Green Knight dares any knight to behead the Green Knight. And in return, the Green Knight will behead his killer exactly one year later, at the Green Knight’s Green Chapel. Gawain is the only person to voluntarily step forward and accept this challenge.

Why would anyone take this dare? The king whispers to Gawain, “Remember it’s only a game,” as he gives Gawain a sword to use for the beheading. The Green Knight lays down his axe in a sign of surrender. Gawain beheads the Green Knight, who gets up, picks up his own head, and then chuckles, “One year hence,” as he gallops away on his horse, leaving his axe behind.

The movie then fast-forwards to nearly a year later. Gawain is on a mission to find the Green Knight at the Green Chapel, where they agreed to meet for the promised beheading. Along the way, Gawain encounters various dangers and complications that could impede his journey. And all the while, viewers (even those who’ve read the book) will be wondering if Gawain really will be beheaded, or if his life will be spared if he sees the Green Knight again.

Gawain meets several new people in his travels, including a thieving, nameless scavenger (played by Barry Keoghan); a red-haired trauma victim in a long white nightgown named Winifred (played by Erin Kellyman); and a gregarious unnamed lord (played by Joel Edgerton) and his seductive wife Essel (played by Alicia Vikander), also described in the film credits as The Lay. An intelligent red fox ends up accompanying Gawain and becomes his companion for part of his trek.

The lord and his lady live in a castle with a mute, unnamed elderly woman, who is always blindfolded. (No explanation is given on who this woman is, and Gawain doesn’t ask.) The couple invites Gawain to spend the night in their home on December 21, just a few days before Gawain is supposed to make the Christmas deadline to meet up with the Green Knight. What happens in the home is a turning point in the movie, which makes some big changes from the original source material.

“The Green Knight” takes admirable risks in not following the conventional tropes found in movies about a knight on an adventure. There are no massive battleground scenes, no damsel in distress who’s the knight’s love interest, no kingdom whose leadership is in jeopardy. And although “The Green Knight” has many elements of a horror movie (including some bloody gore), the real fear in this movie is Gawain’s dread of holding up his end of the bargain. His integrity is at stake, as well as his life.

The movie has some strikingly haunting visuals that are times psychedelic. In a memorable sequence, Gawain encounters giant nude, androgynous people (who are the size of skyscrapers) while trying to find the Green Chapel. Gawain tries to talk to one of these giant people as they walk past him, but communication is difficult, and they can’t really understand each other. It’s a very hallucinogenic and effective scene.

“The Green Knight” also doesn’t shy away from references to brutality toward women, in an era where women were treated like property. When Gawain first meets Winifred, she mentions that a lord tried to rape her and beheaded her when she resisted. Gawain is initially confused because Winifred looks like a person who is alive, not a ghost. However, the way Winifred manifests herself in this story—whether she’s alive, dead or somewhere in between—is on her own terms, as if she’s taken back the power that was stolen from her.

Patel’s depiction of Gawain is as a flawed but well-intentioned hero. It’s an understated role where he rises to the occasion of expressing a wide range of emotions without distracting melodrama and while still portraying a character who must present a stoic demeanor to strangers. The other characters in “The Green Knight” are somewhat two-dimensional and/or have very limited screen time.

However, Edgerton’s portrayal of the lord and Vikander’s portrayal of his wife Essel are intriguing and make enough of an impact to suggest that this couple could easily have an entire movie about their lives together. But make no mistake: The humanity of “The Green Knight” resonates mostly because of Patel’s layered performance, which never lets viewers forget that Gawain is a human being who can falter, not as an unrealistic knight who will always put fear aside to rise to the occasion.

Some of the visuals in “The Green Knight” have themes of Christianity versus paganism, or humans versus the environment. Although there’s violence in the movie, it’s not gratuitous. Lowery is the type of filmmaker who takes his time in immersing viewers in the movie’s unique atmosphere instead of rushing from scene to scene and dialogue to dialogue. And there are no gimmicky jump scares.

Many other horror stories rely on the premise that murder victims don’t know when they’re going to die. “The Green Knight” skillfully presents a different type of horror: Someone who volunteered to die at a pre-determined date. Gawain spends most of this treacherous journey by himself, as he reflects on his own mortality, as well as his own morality.

In its clever way, “The Green Knight” is an artistically creative statement of how it’s human nature for people not to want to think about their own deaths. People who have to confront their own deaths usually have to face another fear: reflecting on their lives and holding themselves accountable for their misdeeds and mistakes.

A24 will release “The Green Knight” in U.S. cinemas on July 30, 2021.

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