On Swift Horses

Overview

In the 1950s, a seemingly sensible newlywed and her wayward brother-in-law undertake parallel journeys of risk, romance, and self-discovery.

Rating

1 Reviews

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  CinemaSerf

  6 Sep 11, 2025

  Perhaps the clue comes from the opening scene where “Lee” (Will Poulter) is having the most perfunctory sex with his fiancée “Muriel” (Daisy Edgar-Jones). He wants to get married, but she’s giving off some fairly unconvinced vibes. Then she opens the window to see a shirtless man draped across the bonnet of their car. It must be -5° outside, but this is his brother “Julius” (Jacob Elordi) who has just returned from the war on furlough. Both are supposed to go back, but he has managed to wangle himself some discharge papers so it is only “Lee” who has to return to the army - and hopefully as a married man. Scoot on a bit in their lives and we discover that “Julius” isn’t really the most reliable of gents. He has promised to go into business with his brother in California but en route, this itinerant gambler, finds himself winning, then fleeced, then employed in a casino trying to spot other cheats. That’s when he meets “Henry” (Diego Calva) and the pair are soon cavorting about in their tiny whities. Meantime, “Muriel” and “Lee” are making a go of things in California, but she’s unfulfilled. She works in a diner where she picks up some racing tips. Next thing, she has $12k hidden behind the mirror in their new home near where she encounters the enigmatic, egg-selling, “Sandra” (Sasha Calle). Next thing, well it seems that “Julius” has a sort of kindred spirit. What chance happiness for any of them, especially the decent is slightly pedestrian “Lee”? It does shine something of a light on societal attitudes to homosexuality in 1950s America, but not in any way that we haven’t seen many times before. The sex scenes look even more choreographed than you might have expected, with the Elordi/Calva scenes suggesting neither had cleaned their teeth beforehand and the former having the bed-sheets surgically Velcro’d to his waist. The story between DEJ and Calle isn’t really any more compelling nor characterfully played out and at just shy of two hours, I felt a bit short-changed by a concept that looked good on the tin but that was really just some A-list froth. Maybe that’s what to take away from this. The cast are at or on their way to the top in Hollywood so to play parts like this can only add some strings to their bows, but I found these to be selfish and rather unlikeable individuals portrayed by actors who imbued their personas with little beyond their own good looks. Very disappointing stuff, sorry.