While hardly the first entry in that tried-and-true subset of film revolving around someone lured to any manner of nondescript palatial estate by an individual possessing more than a hint of mystery, only for things to soon spiral rapidly out of control, Emerald Fennell’s 2023 escapade “Saltburn” might be the most recent, or at least the most noteworthy. Though Fennell’s thriller would see the luree, as opposed to the lurer, reveal himself as the one to be feared, it nonetheless checked off the remaining boxes while inadvertently leaving the door open for followers like “Electra,” where the old saying of how something walked so its descendent could run finds itself applied here. Unfortunately, it’s far from a run—more of a faceplant in this particular instance.
Dylan (Daryl Wein) is a journalist, accompanied on a trip to Europe by his photographer girlfriend Lucy (Abigail Cowen), where the subject of Dylan’s next article is cliche-riddled rock star Milo (Jack Farthing), full of the trademark mannerisms and demeanor that wouldn’t feel out of place were one of the Gallagher brothers to take on this role. We know all of their names thanks to oversized, unnecessary captions, and only to a degree, they come in handy when characters such as Milo’s performance artist girlfriend Francesca (Maria Bakalova) turn up unexpectedly. At the same time, the trio continues Milo’s interview at a local restaurant. Here, an invitation to stay at Milo’s lavish mansion materializes. At said residence, it’s revealed in private that Dylan and Lucy aren’t at all who they say, instead operating under the guise of a journalist and photographer and with the real names of Henry and Anna. They’re also planning to steal something of value to Milo, in this case a painting hanging in the living room bearing a connection to someone named Electra; it’s a heist that could result in a financial cushion for the cash-strapped Anna as she wishes to devote herself to a career in acting, while for Henry, such a theft carries a personal meaning. What might that be? We’ll find out later.
As the quartet settle in and visit the nearby town, a sequence of which is unnecessarily shot as if it were one of Milo’s music videos, it soon becomes clear both to Milo, as well as the audience, that neither of his two new compatriots have a grasp on the ruse that is their own backstory, with both couples speculating about the other behind closed doors as Henry and Anna discuss other items within the house they might also consider as part of their theft. Nighttime attempts to complete the main job soon fail to succeed. It’s by this point that drug use has entered the chat, leading to a truly bizarre dinner table sequence, uneasy conversations as Milo probes Dylan/Henry more and more, Milo’s side chick makes an appearance, and a subplot involving something of a custody battle over Milo’s child also fights for screentime. Oh, and did I mention Francesca is attempting to help Lucy/Anna with her aspirations as an actress?
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For a film clocking in at a lean 85 minutes, it’s surprisingly a great deal to take in. Though the “Saltburn” comparison eventually makes way for a different ride altogether, it doesn’t stop director Hala Matar (who also co-wrote the film with Wein) from swinging for the fences as if throwing spaghetti, trying to see what might stick. Sound effects, filters, those trusty captions, and even the division of the film into chapters feel less like genuine storytelling assistance and far more gimmicky than was likely intended. Granted, there’s enough forward momentum to extend a hand in the direction of grasping audience interest. Still, such a gesture quickly pulls back when another narrative detour or hallucinatory moment takes center stage. Sadly, even the cast teeters between what could be seen as a semblance of interest and the actor’s equivalent of a shrug, though all articulate well. No captions needed there.
There’s hardly enough of a story to be told, and that which does exist has seen itself played out prior in far too many better films, both inside such a specific genre and beyond. The message behind “Electra” could be found as secrets eventually make their way to the surface in the film’s final minutes, but by then, does anyone care?   [C-]