Of all the stars of middling teen film and television once beloved by Gen Z youth, few have gone on to amass a filmography quite like Jacob Elordi.
Once known for his role as the unlikely love interest Noah Flynn in “The Kissing Booth” film series, 27-year-old Elordi has since proven himself a delicate curator of roles that seemingly aim to elevate him from heartthrob to a smoldering on-screen persona: the affluent Felix in “Saltburn,” the (in)famous Elvis Presley in “Priscilla” and, most recently, the brooding gambler Julius in “On Swift Horses.”
Based on Shannon Pufahl’s 2019 novel of the same name, “On Swift Horses” is set in the Western U.S. during the 1950s. The film, directed by Daniel Minahan, follows Julius (Elordi) after his encounter with Muriel (Daisy Edgar-Jones), the hesitant fiancée of his brother Lee (Will Poulter), sets off a ripple of love stories and acts of (queer) rebellion.
The thematic overtures in “On Swift Horses” are immediately apparent: Lee is nuclear-family-oriented, Muriel is underwhelmed and Julius seems to have something she’s missing. Julius’ and Muriel’s stories show that love can be the ultimate gamble: He gives up the honest life he’s built in Las Vegas for his charming coworker Henry, and she starts to risk the security Lee provides for her after an encounter with her independent neighbor Sandra.
With critics musing over award shows’ skittish approach to films depicting sex (looking at you, “Challengers” and “Babygirl” award snubs), “On Swift Horses” doubles down on a bold and dramatic queer love pentagon. The film balances the overarching themes of risk and reward with introspection into queer realities of the time period.
“On Swift Horses” is largely an experience akin to fine dining, where the presentation feels just as important as the dish itself. Each shot is packed with Americana imagery: lush San Diego horizons, pastoral Christmas time and bottles of A.1. Sauce.
The drawback is apparent: At some points, “On Swift Horses” feels like finishing that tiny, beautifully plated morsel — and wishing you’d gone for a hearty burger instead. The aesthetics of the movie work hard but cannot completely conceal a lack of substance.
Tensions between characters are immediate and overt, often coming to a head as quickly as they arise. Whirlwind romances ignite and dissipate in a matter of minutes across the film’s just short of two-hour runtime.
A gambling motif — both literal and symbolic — is ever-present as Julius and Muriel push the boundaries of how to get what they desire, sometimes losing sight of the consequences for themselves or for the people they care about.
As the film reaches its climax, it becomes apparent that its characters are walking the line between reality and a dream, begging the question: Are the victories we steal really victories at all?
Email: [email protected]
X: @rubywright0
Related Stories:
— Reel Thoughts: “Hell of a Summer” is one hell of a slasher
— Reel Thoughts: ‘Sinners’ proves two Michael B. Jordans are better than one
— Reel Thoughts: The pit in ‘The Pitt’ is a sinking ship you just can’t look away from
