I watched On Swift Horses in theaters last night, and I’m still trying to wrap my head around it. This 2024 romantic drama, directed by Daniel Minahan and adapted from Shannon Pufahl’s 2019 novel, dives into the stifling world of 1950s America with a killer cast—Daisy Edgar-Jones, Jacob Elordi, Will Poulter, Diego Calva, and Sasha Calle. It’s a queer love story mixed with gambling and noir vibes, set in sunny California and glitzy Las Vegas. As a sucker for period dramas and stories about breaking free from society’s rules, I was all in for this one. It’s got gorgeous moments and performances that hit hard, but it’s also kind of a chaotic mess that didn’t fully win me over. Here’s my take.
Killer Looks and Amazing Acting
Let’s start with the visuals, because wow. The film’s take on 1950s California and Vegas is straight-up stunning. Picture golden San Diego suburbs, dusty racetracks, and dazzling casinos with a gritty noir edge. Every shot feels like a vintage photo, from smoky gay bars to Muriel’s perfectly tailored dresses. The cinematography gives everything this warm, dreamy glow that pulls you right into the era. It’s the kind of movie where you want to pause and stare at the frame—someone on X called it “a 1950s fever dream,” and I’m totally with them.
The story follows Muriel (Daisy Edgar-Jones) and her husband Lee (Will Poulter), a Korean War vet chasing a cookie-cutter life in San Diego. Things get messy when Lee’s brother Julius (Jacob Elordi) rolls in, all charm and restless energy. Muriel’s drawn to him, but not romantically—it’s more like they both feel trapped. She starts betting on horses and sparks a romance with her neighbor Sandra (Sasha Calle), while Julius heads to Vegas, falls for a card cheat named Henry (Diego Calva), and dives into a secret queer relationship. Their parallel journeys of chasing desire in a homophobic world are what make the film feel alive.
The cast is unreal. Daisy Edgar-Jones kills it as Muriel, balancing quiet housewife vibes with this burning need for more. Her scenes with Sasha Calle’s Sandra—like a flirty moment over olives—are so charged, you can feel the sparks. Jacob Elordi is magnetic as Julius, mixing swagger with a soft, broken side. His chemistry with Diego Calva’s Henry is tender and intense, especially in their motel-room scenes. Calva steals scenes as Henry, all reckless charm and hidden pain. Will Poulter’s Lee is the heartbreaker—a sweet, hopeful guy who just wants the American Dream, and Poulter makes you feel his quiet hurt when it falls apart.
The film’s take on queer life in the ‘50s got me right in the feels. It nails the tension of hiding who you are—Julius and Henry sneaking around, Muriel keeping her winnings and her feelings for Sandra secret. There’s a gut-punch scene with photos of missing queer folks that hit me hard, showing the real danger of the time. The way the movie captures those stolen moments of love against all that fear is beautiful, and the performances make it land.
Too Much, Too Little, Too Messy
Here’s where it gets messy. The movie tries to cram in everything—queer romance, gambling, a sorta love triangle, noir thrills, and a jab at the American Dream—and it doesn’t all work. At 117 minutes, it feels dragged out in some spots and rushed in others. The middle sags with scenes that look pretty but don’t move the story, then the ending speeds by so fast it left me scratching my head. The final scene, involving a horse (no spoilers), felt so random and corny that I snorted in the theater—not the vibe they were going for. One critic called it “a clumsy, head-scratching end,” and I felt that.
The script’s all over the place. Muriel’s horse betting and Julius’s casino hustling are cool on paper, but they feel like two different movies slapped together. Their “connection” through letters is supposed to tie it all up, but it’s barely there—I needed more scenes of them together to buy their bond. The gambling-as-love metaphor is neat but heavy-handed, like Muriel stuffing cash in her purse or Julius cheating at cards. It’s like the film couldn’t decide if it wanted to be a romance, a thriller, or a drama, so it tried all three and didn’t nail any. The queer love stories are steamy (yup, there’s nudity and some spicy scenes), but they don’t always dig deep emotionally. Julius and Henry’s romance, for instance, feels passionate but not as raw as I wanted compared to something like Call Me by Your Name. And Lee’s stuck as the “nice guy” who doesn’t get enough to do, which is a bummer for Poulter’s talent.
Another gripe: the marketing. It’s been catching heat for downplaying the queer stuff, which bugs me because this is a proudly queer story. Why shy away from that? It’s like they didn’t trust the audience to show up for it.
Why It Hit Me
I’m a sucker for stories about finding yourself when the world’s telling you no, and On Swift Horses got me there. Muriel and Julius chasing love and freedom in a time when both could ruin you felt so real. The way they navigate their hidden lives—through quiet looks, stolen touches, and those tense moments of fear—had me hooked. I love ‘50s aesthetics, and the film’s vibe, all sharp suits and smoky bars, is catnip for me. It also rips apart the “perfect” American Dream, showing how it crushed people who didn’t fit the mold, and that hit hard.
The queer representation is a big deal, too. Seeing bisexual and queer characters front and center, played with such nuance by Edgar-Jones and Elordi, felt powerful. The film doesn’t sugarcoat the era’s homophobia—slurs and violent moments make that clear—but it also shows the joy of those secret loves. It’s not perfect, but it’s bold and meaningful.
Final Thoughts: A Beautiful, Flawed Vibe
On Swift Horses is a gorgeous, messy ride that’s as frustrating as it is captivating. The cast is phenomenal—Edgar-Jones, Elordi, Poulter, and Calva are electric—and the ‘50s visuals are to die for. It’s got a big, romantic heart, diving into queer love and societal pressure with real emotion. But the overstuffed story, wonky pacing, and that goofy ending hold it back from greatness. It’s like a racehorse that starts strong but trips at the finish.
If you’re into queer dramas, ‘50s vibes, or just want to watch some crazy-talented actors, it’s worth checking out. Catch it in theaters now for the full visual experience—those shots deserve a big screen. I’m giving it 3 out of 4 stars—it’s not perfect, but it’s got enough heart and style to stick with me, even if it left me wanting a tighter ride