One very weird summer vacation

 

   Emerald Fennell's Saltburn skewers those who aspire to the heights of wealth and privilege, with the writer/director indulging her taste for evisceration, exaggeration, and obvious provocation.

    Fennell focuses on Oliver Quick, an Oxford student played by Barry Keoghan. The bookish Quick, whose name sounds as if it were lifted from a Dickens' novel, attracts the attention of one of Oxfords  cool guys (Jacob Elordi). 

     Increasingly comfortable with his newfound acceptance, Oliver tells Elordi's Felix that he won't be going home for the summer, despite the recent death of his alcoholic father. He says he can't bear to be around his mentally deranged mother; he wants to keep his high-achieving life on track.

  Perhaps out of pity or maybe because he's kind, Felix invites Oliver to visit Saltburn, the massive estate where his family lives in aristocratic splendor and where Felix, despite his obvious entitlement,  seems closest to normal.

  Turns out the rest of Felix's family consists of bizarrely drawn characters, all vividly sketched in caricature fashion. Mom (Rosamund Pike) speaks through clenched teeth, launching acidic barbs in all directions; Dad (Richard E. Grant) seems monumentally out of touch; sister Venetia (Alison Oliver) reeks of trouble. Her mother describes her as "sexually incontinent."

  Two additional characters took up residence at Saltburn before Oliver's arrival. These hangers-on include another Oxford student (Archie Madekwe), a young man who's somehow related to the family and a family friend (Carey Mulligan) who insists on spewing repeated tales of the catastrophes that have befallen her. 

  The butler (Paul Rhys) seems to regard himself as superior to one and all. Perhaps he's the referee in a game in which the participants have lost sight of all boundary lines.

   OK, sounds like we're on the road to a broadly conceived comedy of manners but Fennell, who directed Promising Young Woman, has other things in mind. Her movie becomes increasingly bizarre -- perhaps even perverse. That shift gathers force when Oliver, whose creepy leanings already have been established, climbs into the bathtub where Felix recently had been bathing and, by the way, masturbating. Oliver starts to drink the bathwater as it swirls down the drain.

    Clearly, Oliver is not what he seems. You certainly wouldn't want to ask him how he spent his summer vacation.

    The detail about the bathtub might be a spoiler; I include it to ward off the squeamish and to demonstrate that Fennell specializes in sights intended to make us wince, perhaps the equivalent of the queasy responses elicited by graphically repellent gore in horror films.

    I'd be lying if I didn't say that some of this is entertaining and funny -- in a twisted sort of way. 

    Like Promising Woman, Saltburn wraps up with far-fetched twists that continue Fennell's outrageous march through developments that are meant, I think, to encourage us to look back and search for clues that might have tipped us off to where the movie was headed.

     On one level, Saltburn -- by including images that invite averted eyes  -- can be viewed as a movie that dresses for dinner and then throws up on itself. On another, it's a daring comic display of the base motivations that underly class privilege.

    Whatever view you take -- and I'd opt for the latter -- Fennell takes us on a ride that bounces over some wicked bumps. Obviously I can't know her intent, but by the look of things, I'd guess, as was the case in Promising Woman,  that she prefers comedy that leaves bite marks.

‘Gran Turismo’ races on a formulaic track

       

     If I weren't writing about films, I doubt whether I’d see Gran Turismo: Based on a True Story,  the real-life tale of a young man who made the shift from an expert player of a popular car racing game to the high-speed world of the track.

     Gran Turismo probably will have its greatest appeal among those who spend hours trying to excel at PlayStation's popular pastime, which was invented by Japanese designers who spent years giving the game an astonishing degree of versimilitude.

       So what about the rest of us, those who don't play video games and who aren't especially interested in sports car racing?

        I guess the surprise is that Gran Turismo is watchable while being predictable. The movie makes little attempt to dig beneath the surface or say anything we haven't heard before -- and still manages to cross the finish line without being disqualified.

    Put another way, the movie is OK.

       Director Neill Blomkamp (District 9, Elysium) tell the story of Jann Mardenborough (Archie Madekwe), a kid who grew up in Cardiff playing Gran Turismo and dreaming of driving real races cars. 

     Working-man Dad (Djimon Hounsou) thinks Jann should continue his education. Mom (Geri Horner) seems more supportive. Jann's brother (Daniel Puig) ... well ... he's in the movie, too.

        Jann might have continued drifting and dreaming if it hadn't been for a slick promoter (Orlando Bloom) who sells Nissan on the idea of sponsoring GT Academy, a facility where talented gamers would be trained to drive real race cars. 

        Initially reluctant, a former driver turned chief engineer (David Harbour) agrees to train the young crew. No one else wants the job.

         The idea is that the game requires so much skill that the best sim drivers, as they're called, could make the transition from gaming cafes and isolated bedrooms to professional tracks.

         At two hours and 15 minutes, Gran Turismo doesn't skimp on training montages and racing footage as Jann progresses, eventually competing to earn his license as a professional driver while facing opposition from an arrogant driver (Josha Stradowski) who believes Jann's lack of experience will endanger other drivers.

         Obvious questions roar through the plot as loudly as the movie’s cars. Will Jann wash out or will he become a professional driver and, ultimately, a winner? Will Dad, a stern man who played soccer and who hasn't supported his son's ambition, eventually come around? Can the movie accommodate more product placements?

          As a failed driver who couldn't overcome a tragic incident in his past, Harbour gives his character old-pro flavor. The rest of the performances are up to snuff.

      It's unfair to criticize a movie such as Gran Turismo for being formulaic. There’s reassurance in familiarity. You can even anticipate some of the dialogue before the characters open their mouths.

         Of all the racing footage — much of it convincing — a crash in which Jann's car becomes almost vertical on the track  proves difficult to watch.  And Blomkamp ingeniously shows how Jann's mind works, turning real cars into blueprints of their game versions while driving on real tracks.

        Gran Turismo's B-movie plot doesn't mesh with what seem to be grander ambitions. The resultant movie suffers when it tries to inflate Jann's achievement into a broader endorsement of the kind of  bromides in which movies specialize. Dreams can become real. Stuff like that.

        Gran Turismo is best when it drives in its own narrow lane and doesn't try to turn Jann's story into a cheering session for every underdog.

Elle Fanning receives a showcase

Sometimes, critical standards need to be twisted a bit. That's how I felt about Teen Spirit, a somewhat flimsy Max Minghella-directed variation on a Star is Born theme that places Elle Fanning in a starring role. No one is going to confuse Fanning's Violet with a character from Chekhov, but Teen Spirit bounces its way into theaters with a tailwind of energy behind it and a commanding performance from Fanning. A young woman living on the Isle of Wight, Fanning's Violet wants to sing. Her singing voice -- yes, it's really Fanning's -- proves stronger than anything Violet might say in normal conversation. Fanning makes it clear from the start that Violet isn't happy living with her Polish immigrant single mother (Agnieszka Grochowska). While singing to a sparse audience at a local bar, Violet meets an unlikely mentor, a disheveled Croatian (Zlatko Buric) who once was an opera star and now seems to be a drunk. Initially timid about the possibility, Violet quickly decides to enter a local talent contest. The winners will appear on a nationally televised talent show called Teen Spirit. Minghella fully embraces the absurdity of a story in which an opera star helps fashion a rock idol. He wisely refuses to wink at the brazen obviousness of any of the conceits in the screenplay, which he also wrote. Look, I'm not arguing that Teen Spirit ascends the ladder of greatness; I am saying that the highly energetic Teen Spirit gives Fanning a well-deserved showcase and that she takes full advantage of it. She creates a character who -- as her coach advises her -- sings from the heart.