‘On Swift Horses’ review: Daisy Edgar-Jones shines, but 1950s-set drama falters

Daisy Edgar-Jones delivers a standout performance, but the film's pacing and complexity undermine its impact.

Daisy Edgar-Jones and Jacob Elordi star in On Swift Horses, a 1950s-set drama that tackles the hidden lives of queer individuals during a time of repression. Despite a promising cast and a compelling premise, the film struggles to live up to its potential, weighed down by an overly complex narrative and sluggish pacing.

Directed by Daniel Minahan, best known for his work on television, the film follows the lives of newlyweds Muriel (Edgar-Jones) and Lee (Will Poulter) as they move to California. The story quickly shifts focus to Lee’s brother, Julius (Elordi), who embarks on a passionate yet tumultuous relationship with Henry (Diego Calva) in Las Vegas. Meanwhile, Muriel begins to explore her own hidden desires, finding herself drawn to a secret world of same-sex attraction.

While Edgar-Jones delivers a "beautifully understated" performance, capturing Muriel’s emotional conflict and the thrill of her secret life, the film suffers from an overly complicated plot. Bryce Kass’s screenplay, based on Shannon Pufahl’s 2019 novel, attempts to juggle too many themes at once, from gambling to hidden gay relationships, leaving each thread underdeveloped.

Though the film promises a poetic exploration of repression and secrecy, it rarely comes alive. Elordi, while physically embodying the 1950s heartthrob, delivers a flat performance, particularly in his portrayal of Julius’s obsession with Henry. Calva, by contrast, injects energy into his scenes, but their relationship lacks the emotional depth that was expected.

Despite its flaws, On Swift Horses has some bright spots. Poulter is exceptional as Lee, subtly revealing layers to his character as he navigates the complexities of marriage and family. The film also captures the visual aesthetic of 1950s California, with moments of striking beauty. However, the promise of a profound exploration of forbidden love and identity remains largely unfulfilled.

Minahan’s attempt to use gambling as a metaphor for queer love and freedom ultimately falls flat, making On Swift Horses a missed opportunity despite its star-studded cast.