Fennell has a flair for wicked dialogue, using conversational scenes to upend each character’s place on the ladder. Only Felix doesn’t move. In shots, one constantly watches to see who is presented higher in the frame. Who currently holds the upper hand? The introduction of Felix’s sister Venetia (Alison Oliver) reconfigures the film considerably. Everything that follows escalates into the type of pulpy thriller one don’t see much in theatres. But viewers might be inclined to say this could’ve just been on HBO.
Read Colin Biggs' full review: thatshelf.com/napoleon-and-saltburn-two-films-that-trolled-us-to-varying-success/