The beauty of film lies in its ability to evoke a specific era or environment. Whether in a quiet character drama or a large-scale spectacle, film can help transport an audience to a different time. Even if the quality (story, performances, etc.) may falter, that sense of place and fleshed-out world can speak volumes to viewers. When those elements are executed in perfect synchronicity, it can deliver a truly exceptional experience. In 2025, such quiet dramas can be more challenging to come by, simply because audiences are less interested in seeing them in theaters. Daniel Minahan’s (Deadwood: The Movie) latest film, On Swift Horses, is attempting to bring those sorts of stories back to the theatrical conversation.
L-R: Will Poulter as Lee, Daisy Edgar-Jones as Muriel, and Jacob Elordi as Julius in ON SWIFT HORSES. Photo courtesy of Sony Pictures Classics.
The story follows Lee (Will Poulter) and his wife, Muriel (Daisy Edgar-Jones), as they attempt to start a new life in California along with Lee’s younger Brother Julius (Jacob Elordi). As a veteran from the Korean War, Julius comes home with his own ambitions. While these three hold the grandest ambitions of having a “California Dream,” it proves to be an easier said than done process. As they attempt to make those dreams a reality, secrets send them all on an emotional rollercoaster.
At its core, the success of On Swift Horses resides in its four central performances. Dealing with the themes of both longing and desire, the film often feels like a 1950s-esque domestic drama. Will Poulter (Midsommar), Jacob Elordi (Saltburn), Diego Calva (Babylon), and Sasha Calle (The Flash) each bring a distinctive physical and emotional presence that feels like they were pulled out of that time. While the look itself is period-specific, the fun of these performances (particularly that of Edgar-Jones) hides an undercurrent of desire.
L-R: Will Poulter as Lee and Daisy Edgar-Jones as Muriel in ON SWIFT HORSES. Photo courtesy of Sony Pictures Classics.
These “desires” can be what makes or breaks how much viewers enjoy On Swift Horses. This cast features some of the most likable young actors and actresses in the industry today. They all have charisma and simply deliver engaging and emotional qualities that viewers respond to. , If you like these actors already going into the film, then it’s pretty easy to go along with the soap-operatic ride. No matter what decisions (both smart and stupid) these characters make, viewers will remain engaged because each actor commands the screen when they’re on it. The beauty of these performances resides in the subtle moments and quiet interactions. The moments of expressionism between Calva and Elordi, alongside Edgar-Jones and Calle, have a genuine heart. They feel like conversations between real human beings, rather than just written caricatures. If you’re not already a fan of these performers, it can be difficult to become invested when ludicrous decisions are made as the problems with On Swift Horses reside in the screenplay. Based on the book of the same name, the screenplay by Bryce Kass (Lizzie) leans into the melodramatic.
As enveloping as the period detail and central performances are, the results often feel bloated. Clocking in right under the two-hour mark, the buildup and personal questions of desire and true love are engaging but simply wear out their welcome by the 90-minute mark. It feels as if the narrative balloon begins to deflate. There comes a point to where it’s clear to see what kind of story On Swift Horses wants to tell. That sensation can offer a more tedious experience than audiences might be hoping for.
L-R: Jacob Elordi as Julius and Diego Calva as Henry in ON SWIFT HORSES. Photo courtesy of Sony Pictures Classics.
For the most part, On Swift Horses manages to succeed in utilizing its old-school filmmaking style of the quiet character study drama for a slightly modernized queer love story. For fans of these actors, there are plenty of swoon-worthy moments that are more than worth the price of admission for a big-screen experience. Those who may be expecting (or looking) for more than a compelling melodrama could be disappointed. If you are simply interested in an old-fashioned love story, On Swift Horses is perfectly fine to watch at home.
In theaters April 25th, 2025.
For more information, head either to the official On Swift Horses website or Sony Pictures Classics webpage.
Final Score 3 out of 5.
Share this:
Categories: In Theaters, Reviews
Leave a Reply