Saddle Up for Disappointment: 'On Swift Horses' Goes Nowhere Fast
By Natalie McCarty
For a movie titled On Swift Horses, there was nothing remotely swift about it.
Courtesy of IMDb
Rarely has a film dragged so torturously. As someone who is wildly obsessed with Daisy Edgar-Jones, it pains me to say that if this were the only performance of hers you’d seen, you might mistakenly believe she’s a mediocre actor. Her natural charisma and emotional depth—so evident in Normal People and Where the Crawdads Sing, even Twisters—are completely stifled here by a script that gives her nothing to work with. It’s frustrating to watch a performer of her caliber be reduced to such an unremarkable presence.
Jacob Elordi, meanwhile, felt like a tired archetype, an uninspired mix of James Dean posturing in his yellow jacket and Brokeback Mountain aesthetics. There’s nothing inherently wrong with drawing from cinematic icons, but without fresh interpretation, it feels more like a stereotype. At this point, Elordi has proven he can be compelling (Euphoria, Saltburn), but here, he’s stranded in a role that does nothing to showcase his strengths.
Courtesy of IMDb
But honestly, the real problem is that nothing in this movie feels like anything. It’s like staring at a two-hour-long screensaver. The story plods along with no emotional stakes, no urgency, and absolutely no reason to care. Even Daniel Calva, who I normally love, couldn’t hold my attention—I actually found myself hoping his scenes would end faster.
The one bright spot? Will Poulter. His presence alone injects some much-needed charisma into an otherwise lifeless film. Between Warfare, this, and The Death of a Unicorn, he’s making some exciting choices, and it’s refreshing to see him claim space in this moment. There’s an ease to his performance, a naturalism that makes you wish he had more screen time. Unlike his co-stars, he actually feels like a real person–and one that you actually care about.
Courtesy of IMDb
If a film is faltering, a great score can sometimes salvage it. Here, it did the opposite. Instead of enhancing the atmosphere or heightening the emotions, the music felt intrusive and, at times, completely mismatched with the tone. Rather than elevating key moments, it undercut them, making already sluggish scenes feel even more interminable.
Had it not been for the presence of the director, producer, and one of the actors at the screening, I would have left the theater early. That said, I respect the courage it takes to put one’s work out into the world and to sit on a panel knowing not everyone in the audience will be kind. There’s a vulnerability in filmmaking that should never be overlooked. I also appreciate the ticket from Women in Film—at the very least, the experience wasn’t a total loss.
In fact, the most interesting aspects about the film–like the inclusion of cast and crew’s family members’ pictures on the bulletin board–you wouldn't even know about had it not been for the panel.
But when all the essential elements of a great film—narrative, pacing, emotional stakes—are absent, what’s left? On Swift Horses promised, at the very least, risk, reward, and adrenaline but delivered none of the above. The only anticipation I felt was the anticipation of leaving the theater.
And the ending? Perhaps slightly interesting, but only because it meant the ordeal was finally over. Even in its final moments, the film failed to redeem itself, offering a conclusion that felt more like an afterthought than a meaningful resolution. I still don’t really know what the film was trying to say. It’s a shame—because with the right execution, perhaps On Swift Horses could have been something special. Instead, it barely makes it out of the gate.
